 The Clarinet BBoard
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Author: claclaws
Date: 2005-02-02 12:38
Today I bought Sabine Meyer's 'Clarinet Connection' CD, where k.622 is recorded.
I found that the cadenza parts in 1st and 2nd movements are quite different from other recordings/performances I heard, and from the score I have (Drucker's edition with Baermann's cadenza).
My questions about cadenza:
1. Can we safely say that it's classic's impromtu comparable to the ad libs in jazz?
2.In one of the previous postings, 'eingang' was mentioned, and Mark Charette said cadenzas and eingangs are different...? The link he put, unfortunately, is no more valid. Should I search again with'eingang' as keyword?
3. When performers play the cadenza, do they really invent something at the moment or do they reproduce what they have already practised according to some written score?
Lucy Lee Jang
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Author: Mark Charette
Date: 2005-02-02 13:22
claclaws wrote:
> Today I bought Sabine Meyer's 'Clarinet Connection' CD, where
> k.622 is recorded.
> I found that the cadenza parts in 1st and 2nd movements are
> quite different from other recordings/performances I heard, and
> from the score I have (Drucker's edition with Baermann's
> cadenza).
There are no cadenzas in K.622.
> My questions about cadenza:
> 1. Can we safely say that it's classic's impromtu comparable to
> the ad libs in jazz?
Stretching somewhat, but I guess we could say that.
> 2.In one of the previous postings, 'eingang' was mentioned,
> and Mark Charette said cadenzas and eingangs are different...?
> The link he put, unfortunately, is no more valid. Should I
> search again with'eingang' as keyword?
See http://test.woodwind.org/Databases/Klarinet/2005/01/000172.txt and http://test.woodwind.org/Databases/Klarinet/2005/01/000141.txt.
In fact, search for
leeson eingang
in the Klarinet archives, from newest to oldest, to find a lot of info.
> 3. When performers play the cadenza, do they really invent
> something at the moment or do they reproduce what they have
> already practised according to some written score?
Unless you're really good at improvising, I think practiced is better.
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Author: SGTClarinet_7
Date: 2005-02-02 15:05
John,
I just listened to the link. That was, IMHO, awesome. Who was the soloist and group? That is a recording I would love to find! Thanks.
Matthew
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Author: BlockEyeDan
Date: 2005-02-02 15:43
John, what a great link! I've never heard anything like that before....that's quite a cadenza!
Dan
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Author: DavidBlumberg
Date: 2005-02-02 15:55
btw - the Mozart Cadenza is from his performance of the Bassoon Concerto with Clarinet Choir. I'm sure of that as I know his page and that's what is on it. Also he refers to that piece in the cadenza.
But, the cadenza is completely non-mozartean style. There are intervals and rhythms which just wouldn't be used back then.
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Author: Liquorice
Date: 2005-02-02 22:18
"But, the cadenza is completely non-mozartean style. There are intervals and rhythms which just wouldn't be used back then"
And you think that's important when you're playing the Mozart bassoon concerto on a BASS CLARINET???!
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Author: GBK
Date: 2005-02-02 22:25
Liquorice wrote:
> And you think that's important when you're playing the Mozart
> bassoon concerto on a BASS CLARINET???!
...accompanied by a clarinet choir???!! ...GBK
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Author: claclaws
Date: 2005-02-02 22:44
Thank you, Mark,
As always, this board is my online music tutor. (should have donated a little more ? )
Lucy Lee Jang
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Author: DavidBlumberg
Date: 2005-02-02 23:13
Instrumentation doesn't change the style nor performance practice. It's a cool arrangement. A cadenza written by Boulez for example for a Mozart work should sound like Mozart, not Boulez........
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Author: Liquorice
Date: 2005-02-03 06:01
Actually performance practice includes instrumentation. Not all people set out with performance practice as a priority- eg. someone playing the Mozart bassoon concerto on a bass clarinet accompanied by clarinet choir
By the way- Stockhausen's cadenza for the Mozart clarinet concerto (which he wrote for his wife Suzanne Stephens) sounds like Stockhausen. It's anachronistic, but so's a Buffet clarinet. It doesn't mean it doesn't sound good!
Post Edited (2005-02-03 06:03)
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Author: clarnibass
Date: 2005-02-03 07:21
That bass clarinet player has great technique and sound, but I didn't like his improvisation that much. I don't agree with David's concept that it should sound like Mozart, but in this specific case it isn't so good. He plays a lot of different unconnected ideas, regardless of style.
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Author: DavidBlumberg
Date: 2005-02-03 12:55
I just feel that a Cadenza in a Mozart Concerto should always and at all times sound "Mozartaen". It shouldn't have jazz, nor jazz rhythms in it. Nor should it be atonal in the least unless that is not the point (to play it like Mozart).
I do like the arrangement.
Galway playing the Mozart Clarinet Concerto I don't think works quite as well, but it is interesting hearing a musician of his caliber play it without the years of Clarinet lessons to get in the way.
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Author: Gardini
Date: 2005-02-03 19:20
I think the the Cadenza is pretty cool. Since we are not in Mozart's day, and there are plenty enough great players out there who are trying to be. I think that Mozart is safe. As I understand it, Mozart was quite a showman himself. My wild guess is that if Mozart could hear such a thing he would have had a fine laugh and then proceeded to write a half a dozen variations on the Cornelius Cadenza that left Mr. Boots with his jaw hanging open
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Author: LarryBocaner ★2017
Date: 2005-02-03 20:31
Kind of reminds me of the violin cadenza that Moart wrote for his hilarious satire "Ein Musikalische Spass" subtitled (in translation) "The Village Musicians."
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