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Klarinet Archive - Posting 000094.txt from 2008/10

From: Tony Pay <>
Subj: Re: [kl] Karl Leister K.622
Date: Sun, 19 Oct 2008 19:21:34 -0400

On 19 Oct, I <> wrote:

> If you want a cruder way of putting it, you could say that the changing
> settings of the 'bounce' knob -- the knob that determines how much the
> subsequent passage 'bounces' -- are left by Mozart to the performer.

Here's an example of that, where the accompaniment *implies* a progressively
higher setting of the 'bounce' knob:

Bar 100 and 101 of the first movement have the clarinet phrasing in
bar-length phrases; bar 102 divides the phrasing, producing two half-bar
phrases (notice the repeated G that insists upon that in bar 102) that begin
the progression from cantabile (in 100 and 101) to 'bounce' in bar 104.

Bars 104 to 107 could hardly be more bouncy, accompanied as they are by the
'UM-cha-cha-cha, Um-cha-cha-cha" in the orchestra.

It helps in bar 103 to ask the first and second violins plus viola to play
their rhythms in the last half of the bar using faster (bouncier)
phrase-shapes in order to facilitate the transition.

If the clarinet player is aware of this, then the whole passage is enlivened.
It is seen to consist of a progression from cantabile to vigorous speech, the
culmination of which sets up very well the subsequent passage 108/109/110
which I have always felt to be one of the strokes of genius in the concerto.

Enough of me for a bit; here's a question:

What is the genesis of bars 108/109/110? Where did Mozart get them from?

OK, I know they occur in the opening Tutti. But where did he get them from
when they appear THERE (bars 20/21/22)?


_________ Tony Pay
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... He who hesitates is probably right.


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