The Cadences in Mozart's Clarinet Concerto

3/31/2018

The cadences in Mozart's clarinet concerto - CLARIPERU

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A concert, by tradition, is a work that consists of several movements, movements, commonly three. During this speech, the composers offered free spaces for the soloist to unleash their virtuosity and personal creativity. These spaces are the cadences. Apparently WA Mozart's Clarinet Concerto offers three. In this article you can see and study those cadences played by some of the best clarinetists in the world.

Introduction Mozart and improvisation The cadences interpreted today First movement: Allegro Second movement: Adagio Cadences Ca dences in PDF to print pri nt

THE CADENCES IN THE CONCERT FOR CLARINET DE MOZART

· Introduction

Always the subject of interpretation in music is very controversial, and not only in the classical world. In the academic atmosphere we often hear phrases like 'Beethoven must be played like this '', 'Mozart did not write that dynamic in the score', 'the sound must be like this ...' maybe this happens because we do not have auditory tests of how Bach's music was heard in his time, or Beethoven's Beethoven's sonatas performed under his own hands. We will never know how it sounded that that music when it was composed. Everything changes, the instruments instruments improve, the concert halls offer different acoustics, our culture advances, the distractions increase, and our minds are not the same. Technology is a strong influence: is a 'strong sound' of 250 years ago the same as we can now experience, say, in a rock concert? To improve our understanding of interpretation, we have to delve into the subject, study the material of the period that interests us, read the existing documents on interpretation, interpretation, shred sheet music, learn about the life of our composer, listen to old and modern recordings ... and be creative All this helps us to have a solid base that helps us and strengthens when we express ourselves musically. Within the structure of a concert, cadences are always subjects of great discussions. How do we approach them? Will we repeat what an interpreter wrote many years ago? Do we execute what the composer wrote? Maybe writing is just a suggestion? Should Should we create our own cadences? And if so, where do we start? We do not pretend to cover everything about the vast topic of interpretation, but we do help you immerse yourself in it. We will take it to the cadenzas, and to be more specific, those that are in the Concerto for Clarinet and Orchestra in the major of W. A Mozart, a work of great http://www.clariperu.org/Cadencias_concierto_Mozart.html

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importance in the literature of clarinet. Clariperu wishes to thank Pedro Guridi (Chile) for his valuable help in the development of this article.

· Mozart and improvisation Mozart was a great improviser, as witnessed by letters and other existing writings created during his life. Mozart surprised in his concerts, and this must be considered when facing the cadences in his works. It was common to expect improvisation at the time. In the case of the K. 622 concert for clarinet, Mozart worked on this work with a particular interpreter in mind, his friend Anton Stadler, virtuoso clarinetist who, in his curiosity, extended the clarinet to a lower third major. This serious extension of the instrument called 'basseto clarinet' is what Mozart will exploit, giving the clarinet the expressive opportunity to show its charms in all its registers. Stadler was a skilled improviser, as were most instrumentalists at the time. Mozart had to assume that Stadler would add his cadences in the indicated pilot holes.

· The cadences interpreted today Due to its popularity, the clarinet concert was soon recorded by illustrious performers, as we discussed in our article "Mozart's concert on CD: a guide for everyone". Creemos que un buen comienzo para estudiar y llegar a nuestras propias conclusiones sobre las cadencias en esta obra, es oír lo que otros clarinetistas han dejado registrado en sus grabaciones. Al tocarlas, revisarlas y compararlas, podemos analizar un poco mejor el proceder de cada una de ellas. ¿Qué recurso utiliza el intérprete para crear su cadencia? ¿quiénes explotan el registro del instrumento? ¿El ritmo, de donde lo toman para fabricar sus cadencias? ¿Respetan todos ellos la armonía sugerida? Estas son algunas de las preguntas que podemos formularnos al momento de ver los fragmentos que les ofreceremos. Y es que el presente escrito no le responderá preguntas, si no todo lo contrario: las preguntas se las haremos nosotros. Here are transcriptions of the cadences played by several of the best clarinetists in the world: John McCaw, Alessandro Carbonare, Sabine Meyer, Eric Hoeprich, Thea King, Charles Neidich, Anthony Pay and Martin Fröst. In the second movement you will also find the cadences of Thomas Friedli, Jack Brymer and Reginald Kell.

· First movement: Allegro There is some irony in the title of this article. It reads "The cadences in the ..." but in reality, are there cadences in the concert for clarinet? Maybe they are only breaks that can be briefly adorned, since the three moments with calderón are located on a fundamental chord. Maybe they should not be disturbed, http://www.clariperu.org/Cadencias_concierto_Mozart.html

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and if so, why do so many instrumentalists add their own cadences or adornments? Let's see the two moments in the first movement where these suggestions exist:

compass 127

compass 317

Clarification: from now on, the first fragment will always correspond to measure 127, and the next lower part, to measure 317.

In both cases, the calderón is written in the seventh degree of the chord: in bar 127 we have Re seventima (D7), which is played a beat before (126) as an arpeggio; in the second case it is seventh sun (G7), and the same formula is used: calderón in the seventh degree (bar 317) and arpeggio of the same chord as anticipation (bar 316). On each one of the pilot whales, many interpreters have elaborated cadences or small adornments. Others, like Karl Leister in the recording of the Camerata label, execute only what is written in the score. The cadences are presented together with the interpreter responsible for its execution. At the end of this page, we will put at your disposal all the cadences in PDF format so that you can print them and study calmly at home. · John McCaw

This cadence can be heard in the recording made by this great instrumentalist in 1971 with the New Philharmonic Orchestra. McCaw was a student of the legendary clarinetist Frederick Thurston at the Royal College of Music in London. These are the two cadences of the first movement:

· Sabine Meyer

http://www.clariperu.org/Cadencias_concierto_Mozart.html

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These cadences have been taken from the live version recorded by this German clarinetist with the Berlin Philharmonic under the direction of Claudio Abbado . Sabine Meyer uses a modern bassett clarinet.

· Eric Hoeprich

An expert on the interpretation of historical instruments, Eric Hoeprich recorded this concert using a basseto clarinet of the time. The Mozart concert was recorded in February 2001 with the Orchestra of the Eighteenth Century with Frans Bruggen at the address. The compact disc is edited by the Glossa label. These are his cadences:

· Alessandro Carbonare

In the brief interview published in Clariperu, the Italian clarinetist Alessandro Carbonare mentions: "Why record the quintets of Brahms or Mozart and play them like Karl Leister or Brymer? Where is the interest to play as a copy of other great clarinetists? ? " These are his cadences transcribed from the

album "Mozart - Rossini" from the record label Agora Music. Alessandro uses a clarinet in La Selmer's signature ('Recital' model):


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· Anthony Pay

Another clarinetist involved in the interpretation of historical instruments is Anthony Pay of England. This version corresponds to the one offered by the record label DECCA behind the series "The Mozart Almanac". The orchestra is " The Academy of Acient Music " and they interpret all of them in instruments of the time. These are Pay's cadences:

· Thea King

This English lady has recorded a large number of clarinetist repertoire works with the Hyperion record label , from which this version has been taken. Thea King plays a basseto clarinet next to the English Chamber Orchestra . Its cadences are brief:

· Charles Neidich

Virtuoso American clarinetist, former member of the Orpheus Chamber Orchestra and principal teacher of the Juilliard School of Music , Charles Neidich presents one of the most interesting and controversial cadences. The basseto clarinet is used in almost all its range. At first glance, its interpretation is more extensive, if we compare them with any of the previous ones. This recording was made for the Grammophon label with a modern basseto clarinet, manufactured by the firm Leblanc:


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· Martin Fröst

This young instrumentalist is an acclaimed international soloist who has created unusual shows with the clarinet. His version of Mozart's clarinet concerto was voted in 2005 as ' the best of all time '. Original from Sweden, Martin Fröst recorded this work with a basseto clarinet. We highly recommend you obtain this recording that has the participation of the Amsterdam Sinfonietta .


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· Second movement: Adagio During the Adagio of the concert, there is a calderón in bar 59. It is again in this place where several instrumentalists have elaborated different cadences. Is it appropriate to take the liberty of adding a cadence? Why? Let's see the original score:

V7/V

V7

compass 59

This second movement is written in the key of D major. The part of the clarinet in La is written then, in F major. The bars 58 and 59 have a single note, a B flat, which is the seventh degree of the C chord, which has a dominant F function (V grade with seventh). In bar 57, the clarinet has arpeggios of greater Sun, which corresponds to the dominant function of the seventh Do (bars 58-59), which in turn announces a higher Fa for the recapitulation. Since we have previously commented on the interpreters, we will not redo your data, except in the case of the new names: Thomas Friedli, Jack Brymer and Reginald Kell. Remember that these cadences correspond to the aforementioned recordings. Let's continue.

· Alessandro Carbonare, Anthony Pay, Thea King and Thomas Friedli.

These four clarinetists play the same cadence in this movement. Thomas Friedli is an outstanding Swiss soloist, and has recorded several concerts during his career. The Mozart concerto is performed together with the Zürcher Kammerorchester .


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· Sabine Meyer

In the second movement, Sabine unfolds a little more, and exploits the bass register of the basseto clarinet:

· Eric Hoeprich

The cadence of Hoeprich falls directly with arpeggios, and then ascends with varied rhythmic figures:

· Martin Fröst

Observe what Fröst plays in this part of the concert with the basseto clarinet:


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· John McCaw

Before finishing on the note Mi grave of the clarinet in La, John McCaw unfolds a bit in the melody:

· Charles Neidich

The melodic line of Neidich seems to descend, but immediately rises to finally descend to the bass of the clarinet basseto. You hear two trills during your solo:


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· Jack Brymer

Jack Brymer made seven recordings of Mozart's concert. The present transcription was taken from the 1964 version with the London Symphony Orchestra conducted by Sir Colin Davies. Like McCaw, Brymer also ends up on the bass note of the clarinet in La:

· Reginald Kell

Alumno de Haydn Draper, Reginald Kell (1906 - 1981) es considerado uno de los clarinetistas más influyentes del siglo XX. Formó parte de muchas orquestas importantes de Inglaterra, su país natal. La siguiente cadencia fue tomada de la grabación que realizara en 1957. Algunas grabaciones históricas de este estupendo músico están disponibles en la compañía Clarinet Classics.

· Las cadencias en PDF para imprimir

Quizás luego de leer este artículo se sienta motivado a tocar las diferentes cadencias. Se lo recomendamos. Para que se pueda llevar los fragmentos que ha visto en esta página a su atril musical, le ofrecemos todas ellas en formato PDF. Todas las transcripciones que ha visto en este escrito son aproximaciones a las interpretaciones grabadas en los diferentes discos. Las notas están ahí, pero varias dinámicas y detalles de interpretación de cada intérprete han sido excluídas. Las cadencias se pueden bajar en este enlace en formato PDF, listas para imprimir. Son cuatro páginas. Si tiene algún comentario sobre esta página, por favor escríbanos.


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The Cadences in Mozart's Clarinet Concerto

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