 The Clarinet BBoard
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Author: SusanE
Date: 2009-02-18 18:12
Have done some research, have made calls and have not found a cello part for Mozart's Trio. Before I start to transpose it for our cello player, anyone have any idea?
I have the Yo-Yo Ma, Stolzman, Ax recording so know it can be done.
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Author: Pappy
Date: 2009-02-18 18:56
This might help. You can purchase, for download, all of the parts for the Kegelstatt at the Freehandmusic site. Using their free software (Solaro?) you can transpose the viola part before you print it. Not a perfect solution but it beats doing it by hand.
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Author: Tony Pay ★2017
Date: 2009-02-18 20:13
SusanE wrote:
>> I have the Yo-Yo Ma, Stolzman, Ax recording so know it can be done.>>
What does 'can' mean to you?
Obviously, ANYTHING 'can' be done, under suitable definition of the word, 'can'. So, what's your definition?
Does this recording convince you that it can be done?
If so, how?
Or is it just: 'These are famous players, so obviously what they do is justified in some way'?
Tony
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Author: ABerry
Date: 2009-02-18 23:22
Hi Susan,
If I were a betting man, I'd bet Yo-Yo Ma read and played the trio in Alto Clef, instead of transposing...
Allan
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Author: Tony Pay ★2017
Date: 2009-02-19 00:38
I wrote:
> SusanE wrote:
>
> >> I have the Yo-Yo Ma, Stolzman, Ax recording so know it can
> be done.>>
>
> What does 'can' mean to you?
Mm, don't bother with this, Susan. Go ahead with your trio. My beef is with the players you mention, not you.
Tony
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Author: Ken Shaw ★2017
Date: 2009-02-19 12:57
Who knows whether Yo Yo Ma got a rewritten version of the cello part (which would be mostly in tenor clef anyway), or just read the alto clef viola part. At that level, a player can do either almost without noticing.
I have the recording and heard that he played the same notes a violist would play, meaning that he was constantly in the stratosphere. He made it sound easy, but then he's Yo Yo Ma, who makes everything sound easy. For an ordinary human cellist, the effort will show.
Ken Shaw
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Author: Bubalooy
Date: 2009-02-19 22:42
I have this recording too. I recognize that these are great players. Normally, I like everything I hear from Yo Yo Ma and I don't think I'm a music purist, but, I don't care for this recording so much. I have other recordings that sound much better to me, so maybe it is just better with the viola. Then again, if you have a cellist who can do it, playing music is enjoyable, it's a nice piece and you may as well enjoy playing it.
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Author: vin
Date: 2009-02-20 17:26
Tony-
Could you please elaborate?
Do you have a problem with transcriptions in general? "Can" and "should" are two very different things, but I'm curious as to what specifically is giving you fits.
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Author: jparrette
Date: 2009-02-20 21:13
There are Finale files of the original K. 498 on Oliver Seely's site. I started with these and made a basset horn part from the viola files that works marvelously. You could do the same and make a cello part.
http://www.csudh.edu/oliver/clarmusi/clarmusi.htm
Thanks Oliver!
John Parrette
John Parrette
CLARION MUSICAL SERVICES
john@clarionmusical.com
914-805-3388
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Author: mk
Date: 2009-02-23 20:45
who cares about should.....are you performing this for a paying audience? Why not try entering a celloist forum and ask the same question....someone probably has tried to transpose the part and will advise you of its' practical application to less-than-super-human musicians
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Author: cigleris
Date: 2009-02-23 21:00
Why go to all that trouble when you could play one of the many Trios for clarinet, cello and piano.
Peter Cigleris
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Author: mrn
Date: 2009-02-23 21:30
I listened to some excerpts from this Stoltzman/Ax/Ma recording on iTunes to see what I thought. I didn't think the choice of cello vs. "chin cello" was that big of a deal.
My criticism of the recording is that it sounded too "mushy" and romantic for a piece dreamed up in an 18th century bowling alley (or anywhere else in the 18th century, for that matter). It lacks that light "bounciness" you hear in the best Mozart recordings that keeps the listener from falling asleep.
In fact, I think that's why a lot of folks think Mozart's music is boring--they've been put to sleep by syrupy Mozart recordings too many times. Silly as this may sound, I look at Mozart's music as being kind of like a lot of pop music--it's harmonically and melodically very, very simple and relies on a steady pulse to maintain the listener's attention (just as the "rhythm section" in a jazz or rock band does).
By the way, I don't think you have to actually transpose the music for cello, just (potentially) put it on a different clef to make it look like what the cellist is used to. All the standard orchestral strings are tuned to concert pitch, and anything that isn't super-high and/or requiring double-stops for the viola you can probably play on a cello with no modifications if you have a good cellist. It's been ages since I wrote anything for strings, but I seem to remember that the cello has a surprisingly high upper range--it may even be higher than a viola because cellos have very long necks. I can't remember off the top of my head.
Post Edited (2009-02-23 21:49)
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