William, you are absolutely right in your assumptions. I just looked into the parts I used for my concertos & found a pencil entry: "ev. tacet" measure 36 No.4 concerto. These three measures can be taken as some kind of a hidden last warm up, perhaps.
Regarding K447, the solo starts at upbeat to measure 29 definitely, BUT Mozart had the measures in question written in his autograph score. So both ways might be allowed. Anyway, if these "hidden last intonation controls" are played in a most decent & soft manner, it helps keeping the real solo entrance best intonated. Thanks anyway pointing to these facts. ##################################################################### Am 07.12.2010 um 08:17 schrieb [email protected]: > I know I only have a bachelor's degree in Music, but I did fairly well in > my theory and analysis classes so I'm wondering if I'm correct or wrong in > this assumption: > > When auditions call for the exposition only for a Mozart concerto, it's > fairly easy to determine what they mean with the 1st and 2nd concertos. > However with the 3rd concerto, I was always unsure about playing the very > short > segment of the introduction which is present in at least the Schirmer > editions, and so the last few times I played it on a recital I only started > playing at what was obviously the exposition (introduction of the theme) and > let > the piano or whoever play the full introduction. I could have been wrong, > but it was just something I felt was a better way to perform it - why give > away the show before the theme starts? Most concerti in the classical > period don't let the soloist play until the introduction of the theme and > maybe > it was some joke by Mozart so that the performer could make sure the right > crook was in? Or maybe the act of buzzing a few very quiet notes on the > horn before you actually play is something Mozart noticed only horn players > doing and wanted to make it part of the concerto? Either way, maybe I'm > crazy, but it just seems odd for it to be written that way. > > Of course, for the 4th concerto, the introduction is the longest and the > horn passage in the introduction of the first movement at least to me sticks > out like a sore thumb. So, why is it in there? To me, the theme and > exposition doesn't start until the horn player plays the Bb arpeggio on > whole > notes, so why not just omit that section for performances and auditions? > You're > in unison with the violins or piano anyway. > > I'm not a historian, and I don't want to start some huge argument. I could > be completely wrong about my ideas, but maybe I'm not the only one who saw > the introduction passages for the Horn as out of place? Is this an > incorrect assumption? > > -William > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
