 The Clarinet BBoard
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Author: Alseg
Date: 2005-12-10 12:58
Yes...WQED FM has streaming audio as well as NPR broadcasts by affiliates. BUT they broadcast the concerts approximately one year later.
If you write to the station/PSO you get your free Pickle lapel pin (Heinz Hall is the venue, and I guess Ketchup is too plebian ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif) )
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
Post Edited (2005-12-10 13:00)
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Author: clarinetist04
Date: 2005-12-10 14:30
It was an excellent concert last night. I went with some friends of mine (clarinet players) who study with Mike and Tommy Thompson and it was just magnificent. The Blumine was beautiful and the Mozart was, of course, spectacular.
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Author: Alseg
Date: 2005-12-13 15:37
I was lucky enough to go to the Sunday concert, snow and a Steelers game nearby notwithstanding.
I never heard it in live performance before (amazingly). What is lost on recordings is the depth of the interplay,esp. with the cellos and basses. The conductor brought this out.
Rusinek's Mozart was perfect (IMHO)...the ornamentations were tasteful and fit the mood. The adagio flowed at the tempo chosen, and the ausgabe cadenza was nicely conceived and rendered slowly in a dignified manner.
The outer movements moved with energy and purpose. His sound was full and bell-like, even and colorful in all ranges. He looked like he was having fun.
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: Mark Charette
Date: 2005-12-13 15:52
Alseg wrote:
> chosen, and the ausgabe cadenza was nicely conceived and
> rendered slowly in a dignified manner.
Cadenza? Surely he did an eingang, since a cadenza is not called for in K. 622.
"Unlike nearly all of Mozart's other concertos, the Clarinet Concerto lacks a true cadenza. The piece does contain three held dominant chords, which would typically permit an Eingang--two in the first movement and one in the second. The first one occurs in measure 127 and is somewhat problematic in that the orchestra, not the clarinet, begins immediately following the fermata. The other two instances, measure 315 and movement II measure 59, are followed by solo clarinet passages and present inviting opportunities." — Eric Tishkoff
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Author: Brenda Siewert
Date: 2005-12-13 16:35
Do you mean the Adagio movement? My music is marked "suggested cadenza," perhaps that's what Alseg is meaning.
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Author: GBK
Date: 2005-12-13 16:47
The Mozart Concerto does not have a cadenza...never had, never will...
The proper terminology is eingang, which is very different than a cadenza ...GBK
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Author: Mark Charette
Date: 2005-12-13 16:48
Brenda Siewert wrote:
> Do you mean the Adagio movement? My music is marked "suggested
> cadenza," perhaps that's what Alseg is meaning.
It's an eingang that is called for, not a cadenza ... though many recordings have cadenzas in that place as does sheet music (both written and suggested). But it's wrong. The music doesn't call for a cadenza in that place.
"When a composer wants a cadenza his places a fermata on a tonic chord in the second inversions. Translated from the greek, italian, french, german, or serbo croation, that means PLAY A CADENZA.
When the fermata is on a dominant 7th chord, that means PLAY AN EINGANG.
You, as the performer are supposed to know what a cadenza is, what you do, how you get out of it, and what not to do. Same thing with an eingang. That is what a course is performance practice is supposed to teach you."
"An eingang is expected to be very short, perhaps a dozen notes, and its purpose is the resolve a dominant 7th chord."
— Dan Leeson, Mozart Scholar
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Author: Alseg
Date: 2005-12-13 16:57
Point well taken. Thanks. mea culpa.
eingang .....(mini)cadenzioid in adagio....ausgabe, or suggestions for fermata.....I think we are all on the same page and measure just before the repeat of the theme. The style he chose was a descending scale, slowly, ending quietly but still nicely audible, with minimal rubato, sustaining suspense and merging with the final theme.
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
Post Edited (2005-12-13 16:58)
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Author: Brenda
Date: 2005-12-13 17:25
Thanks Alseq, that's what I wanted to know from the top.
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Author: DavidBlumberg
Date: 2005-12-13 19:19
Michael is as close to being a "perfect player" as there is.
I reserve that category for very, very, very few players.
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Author: DavidBlumberg
Date: 2005-12-13 19:22
But more importantly, is it pronounced ein*gang* or ein*gung*?
And yes, that question is completely facetious.
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Author: Shorthand
Date: 2005-12-13 21:41
The correct pronunciation of "eingang" in German is "ine" as in "nine" followed by "gahng" pronounced with a nice open "A" somewhere beween "wrong" and "rang".
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Author: Alphie
Date: 2005-12-13 22:34
"When a composer wants a cadenza his places a fermata on a tonic chord in the second inversions."
With all respect to Dan Leeson and with a risk of splitting hairs here, I think it is a Dominant 4/6 and not a Tonic 2nd inversion. The chord before is usually a "dim"-chord, usually interpreted as a D/D-9 and has to be resolved into another dominant function. The character of the dominant at the end is like it creates anticipation that something more is coming. It is a call to the listener to be alert. The dim-chord before builds up the tension and the D4-6 leaves the door wide open. A tonic, even in the 2nd inversion would leave the door half closed already and the build up would be less dramatic. The cadenza usually ends with a trill, the fifth in dominant7, resolving into the tonic: Back home.
In the key of C-major the chords in the last bar before a cadenza would be:
¶F, D-9(without D) ¶ G4-6-fermata, cadenza-------, G7-trill¶ C---¶
Alphie
Post Edited (2005-12-13 22:35)
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Author: Alseg
Date: 2005-12-14 00:14
Geez....I thought MC and GBK were ripping me a new one when I used cadenza instead of all the teutonic twittery (pardon me for not having a degree in performance) ....but now even Leeson is getting a PPH.
And in case you do not know what that is...
PPH
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
Post Edited (2005-12-14 00:19)
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Author: Mark Charette
Date: 2005-12-14 00:35
Alseg wrote:
> Geez....I thought MC and GBK were ripping me a new one when I
> used cadenza instead of all the teutonic twittery (pardon me
> for not having a degree in performance)
I don't have a degree in perfomance (indeed, I've not taken a formal music class other than chorus 35 years ago), but I do like to share the things I've learned. I'm sure as a doctor you've learned the correct terminology ("tibia, fibia, what's the difference?") so you can communicate precisely the meaning in as few a words as possible.
PS - I did significantly augment my income playing music a long time back, but not on clarinet and not playing anything classical.
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Author: Mark Charette
Date: 2005-12-14 00:49
Alphie wrote:
> With all respect to Dan Leeson and with a risk of splitting
> hairs here, I think it is a Dominant 4/6 and not a Tonic 2nd
> inversion.
My copy of The Harvard Dictionary of Music agrees with you:
"Its traditional place is in the end of a concerto, between the six-four chord (marked with a fermata) and the dominant chord of the final cadence."
It's easier to hear the difference between the entrance of an eingang and the entrance of a cadenza than it is to describe it! 
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Author: GBK
Date: 2005-12-14 00:54
As Alphie and Mark correctly described, an eingang has certain defined characteristics.
There are a few "clues" to help the listener (and performer) determine the difference between an eingang and a cadenza,
The first hint should be that an eingang begins after a dominant seventh chord, and the instrument that is to play the melody after the eingang is the same instrument that is to play the eingang. (After a cadenza - it is the accompaniment which almost always plays next)
Secondly, an eingang usually ends a half step before the beginning of the next section of melody. Thus the dominant seventh reference.
Lastly, eingang (eventhough usually improvised on the spot) are rather brief, usually about 15 seconds. Cadenzas, on the other hand, are much longer in time, and can last several minutes...GBK
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Author: Liquorice
Date: 2005-12-14 06:12
Alphie wrote: "With all respect to Dan Leeson and with a risk of splitting hairs here, I think it is a Dominant 4/6 and not a Tonic 2nd inversion."
What's the difference? In C major your talking about the notes G-C-E in both cases.
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Author: Alphie
Date: 2005-12-15 11:46
Liquorice, the notes are the same indeed but the functions are very different. Inversions of chords only exist to give the bass line more freedom and individuality. A tonic in any inversion you can use as you please according to how you want to compose the bass line. In a dominant 4-6 the dominant chord is the fundament and has to be resolved into the dominant7 unconditionally. The procedure and the structure are more complicated. So, the difference is functional, what happens before the D4-6 and how you resolve it. The building up effect is emotional to the listener’s sense of reception. A tonic 2nd inversion can be used more casual.
The dominant4-6 before a cadenza is indicating: “Ta-taaa, fasten seat belts, we’re going for a cadenza-ride!”
The dominant7 before an eingang only asks you to hold your breath for a few seconds.
Alphie
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