The Clarinet BBoard

The Clarinet BBoard The C4 standard

New Topic | Go to Top | Go to Topic | Search | Help/Rules | Smileys/Notes | Log In

Previous Message | Next Message

Re: Mozart Clarinet Quintet

Author: Cdh
Date: 2021-09-16 04:51

No, I don't mean that at all. What I am getting at is that the first reason for reconstructing a passage must be that there is something not quite right about it. That's where we have to be careful when looking at arrangements. We don't want to reconstruct passages that are good as they stand.

Mozart had habitual ways of writing standard formulas, like that phrase ending in bar 7 of the solo entry of the clarinet concerto. In an Allegro the falling semiquaver (16ths) four-note figure is mostly written with a grace note at the start. And that is very often preserved in early editions. But of course there is a difference between one of Mozart's trusted professional copyists and an amateur copyist or pirate copyist etc.. Engravers on the other hand are of course always professionals. So notation might set us on a path of investigation, but can't make the case on its own. For me, the lack of grace notes means that I am not expecting dissonances.

In the quintet I've always played the traditional version of the scale at bar 40-41, and often feel the discomfort of the clashes in the first bar. It's always a relief to get to the second bar because none of the passing notes coincide with the strings. One time, after the strings had carefully tuned the chords and matched articulation, I came back in and the first violinist thought I had wrong notes!

There is also the contradiction that the strings have a clear direction to the last note of their rising figure, but the clarinet ends in the middle, as if it can't make up its mind. I think a lot of players have felt that. The worst thing is if the ensemble makes a diminuendo to try and make sense of that - it spoils the silence and hushed entry after the rest.

The length of time on the dominant chord (3 bars) is also striking. It's quite a long time for a chamber work. There must have been a compelling reason for that. (Utilising the three octave range of the basset clarinet comes to mind.) Is the traditional version compelling?

The rhythm of the clarinet part is also unusual because Mozart is careful not to overuse it, presumably because it causes brief stopping points. In the quintet it comes three times in a row. There are times when it comes twice in a row, but I can't recall any other instance of three or more.

There is also a strong sense of "preparing for something" in the bars beforehand, a bit like an athlete getting ready for a hurdle or a gymnast in their routine. First an abortive attempt (bars 35-36), and then one where the clarinet manages to hold on and use the momentum of bar 39 to pull off something really daring. What was that thing?

Reply To Message | Avail. Forums | Flat View

Newer Topic | Older Topic

Topics