"You're talking about what he might have done vs. what he is known to
have done. Mozart might have arranged the whole symphony for kazoos,
but we have no documentation saying that he did. We do know that he
created a replacement finale. Thus, we have the K111a version as a
real documented symphony, and an imaginary "choral symphony" for
which there is absolutely no documentation."
have done. Mozart might have arranged the whole symphony for kazoos,
but we have no documentation saying that he did. We do know that he
created a replacement finale. Thus, we have the K111a version as a
real documented symphony, and an imaginary "choral symphony" for
which there is absolutely no documentation."
No. All I'm suggesting is that your logic in ruling out the performance of this as a choral symphony is iffy. Using the documentary evidence rule is shaky, we don't know if Mozart EVER had his last symphonies performed. There maybe some circumstanial evidence, but no absolute proof. I think what Neal Zaslaw suggested that given the history of Mozart subsitution of movements and instruments based on performers on hand, it's not completely pulling a rabbit of the hat to perform this Overture in a concert setting with the choral ending.
And besides, what's wrong with Kazoos :)
Kim Patrick Clow
On 3/14/06, David W. Fenton <[EMAIL PROTECTED]> wrote:
On 14 Mar 2006 at 14:38, Kim Patrick Clow wrote:
> David Fenton:
>
> Could you please cite the Haydn and Gluck operas that have this
> similiar feature of using an opening overture with a choral movement
> to conclude? I'm curious. While it's apparent that Mozart wasn't the
> only composer to do this, I still think it it's a bit unusual.
I don't have that kind of documentation here at home, no scores or
books that would allow me to answer the question. I also Googled the
subject to see if I could find anything, but had no luck. A quick
trip to any library with complete works should come up with examples
fairly quickly.
As to "unusual," I still think one must look at the conventions of
the particular type of work and the particular locale it was written
for before making any determinations about whether it was really out
of the ordinary. It certainly is not the way Mozart began most of his
other operatic works, but that doesn't really mean anything at all
about what the conventions he was working in were.
> And just because Mozart tacked on another ending versus the choral
> version, could have simply been due to the lack of singers/performers
> for the Academy he gave this performance for. In my mind, it's no
> different than having or not having clarinets in one of the later
> Sinfonias. Different venues required different forces.
You're talking about what he might have done vs. what he is known to
have done. Mozart might have arranged the whole symphony for kazoos,
but we have no documentation saying that he did. We do know that he
created a replacement finale. Thus, we have the K111a version as a
real documented symphony, and an imaginary "choral symphony" for
which there is absolutely no documentation.
Seems like quite a clear situation to me.
--
David W. Fenton http://dfenton.com
David Fenton Associates http://dfenton.com/DFA/
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Kim Patrick Clow
"There's really only two types of music: good and bad." ~ Rossini
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