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Klarinet Archive - Posting 000111.txt from 2008/10

From: Tony Pay <>
Subj: RE: [kl] Karl Leister K.622
Date: Mon, 20 Oct 2008 13:53:09 -0400

On 20 Oct, "Keith" <> wrote:

> And what you write about bar 3 is this not one of those
> possibilities for performer creativity of which you speak? And would not
> different ways be not only acceptable but valid?

Indeed they would, and I've tried playing the second half quieter, and even
tried embellishing it.

But the fact is, I always feel a bit embarrassed about either of those
solutions. The first sounds as though I'm trying to avoid what's there, and
the second sounds too cute. Adopting the other viewpoint works better for
me, and is OK in a context of the normal modulation that surrounds it.

I think that exact repetition is undervalued, because people are too ready to
say that it's BORING. So, for example, in the slow movement of the G minor
symphony, the exact repetition of the falling fourth, followed immediately by
an exact repetition of that same fourth 'filled in', is often turned into a
cute echo effect.

But actually, it works better to keep the whole passage suspended in its
simplicity for the few seconds that it takes to play. It's striking and
magical BECAUSE of the repetition -- and what surrounds it is rich enough,
after all!


_________ Tony Pay
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