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Klarinet Archive - Posting 000123.txt from 2010/12

From: "=?iso-8859-1?Q?sarah=20elbaz?=" <sarah@-----.com>
Subj: Re: [kl] =?iso-8859-1?q?The_Stadler_quintet_nbeeds_some_rethinking?=
Date: Tue, 21 Dec 2010 15:43:02 -0500

The youtube link that Dan posted wasn't played recently. I have a good rea=
son to think that Sabine changed her mind since, and now plays the quintet =
with the basset clarinet and uses the low register.
as you can see here: =

http://www.youtube.com/watch?v=3DxcLcWQhOq2M

I also heard her students playing the Stadler quintet on the basset clarine=
t.

Two weeks ago Wolfgang Meyer was in Israel and he gave me a copy of a new C=
D he recorded with the Eisler Quartet.
They took the fragment of the Allegro for clarinet and strings from 1787 (K=
V ahn./suppl. 91 (516c), and asked two people to complete the movement and=
recorded both versions- one was completed by Frantz Beyer and one by Rober=
t D. Levin.

Very interesting.
The Cd includes the Weber quintet and Arthur Bliss clarinet quintet as wel=
l.

Sarah

> -------Original Message-------
> From: Dan Leeson <dnleeson@-----.net>
> To: Klarinet <klarinet@-----.com>
> Subject: [kl] The Stadler quintet nbeeds some rethinking
> Sent: 21 Dec '10 15:31
> =

> http://www.youtube.com/watch?v=3DUYlq4LuapMk&NR=3D1
> =

> This link will take you to a charming performance of the Mozart clarinet=
quintet, with the splendid Sabine Meyer on a basset clarinet (and with a g=
reat string quartet, too).=A0=A0But strangely -- I listened to all four mov=
ements and you can, too -- she plays no basset notes.
> =

> On one hand this is commendable because what she is saying is that she h=
as not been convinced by any suggested alterations to the text so as to acc=
ommodate basset notes. Unlike, K. 622, the fact is that there has been only=
limited investigation of the text of K. 581 to propose the use of basset n=
otes.
> =

> On the other hand, why then does she use a basset clarinet in A?=A0=A0Si=
nce the low notes (and if she played them I missed them) were not used, why=
not use a traditional clarinet in A?=A0=A0It may be that the greater lengt=
h of her basset horn enables a timbre that she prefers even when not using =
that extra length to get basset notes.=A0=A0I always found that my B-flat a=
nd A clarinets (both of which had the low E-flat) produced a sound characte=
r that I found more interesting than my other clarinets that did not have t=
he extension, so I can understand if that is her view.
> =

> The only suggestion that I would offer her -- as if she needs it -- is t=
hat she appears almost never to depart from the traditional text; i.e., she=
does not improvise, which means that she does not participate in the creat=
ive process, as an improvising performer would do.=A0=A0For example, in the=
minuet (which has four presentations of the main theme -- first time with =
repeats =3D 2 presentations, plus 2 da capos for another 2 times) the main =
theme is heard he same way every time. (And it can be argued that even in t=
he da capos the main subject should be repeated, which means four additiona=
l presentations of the main subject for a total of 8 times. Did I count tha=
t correctly?) And in the slow movement -- which is an A-B-A form -- the fin=
al presentation of the A theme is unchanged.
> =

> While she is an exciting player, to be sure, she could really do that pi=
ece up flaming red if her presentation of the text were not so literal ever=
y time.
> =

> Dan Leeson
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> Klarinet@-----.com
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> http://klarinet-list.serve-music.com
> =

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