Author: seabreeze
Date: 2016-09-04 02:05
It's a showpiece, to be sure, but I've always felt that Rossini's own variations, played exactly as written, ring the changes on the tunes so well that, at the end, there is little left to do other than bring the piece to a quick, rousing conclusion.
Most cadenzas at that point are likely to diminish the luster of the piece rather than enhance it. I've sat through several performances in which my personal response to an attemped cadenza has been "but Rossini already said all that; why are you saying it again, blah, blah"? Both Wright and Meyer bring the thing to a rapid close at the end, most likely because they thought that all that was worth saying musically and technically had already been said.
But I will allow for the chance that some genuis could manage to be even more technically brilliant and thematically explorative at the end in a knock 'em dead cadenza, but for now, I'll go with either a very short cadenza (like Maini's, which dishes up the operatic theme nicely one more time) or the sans cadenza approach of Wright and Meyer. I wouldn't want to reduce Niedich's pay for his longer cadenza, but my personal response to it is "you already showed us you can do all that stuff, maybe a lot better, earlier on, so why still more of it?"
Post Edited (2016-09-04 02:07)
|
|
The Clarinet BBoard
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
