I dont think so, as Leitgeb (this is the correct spelling as used by Joseph Leitgeb himself even in his testament, which is preserved) was still a very capable horn player that time just in his peak time even at 54 of age. Freelancers had to keep themselves in very good shape - as they do today.
William & others, we do even know now that he was born in Vienna on Oct.6th, 1732 as the son of Leopold Leitgeb & Rosina his wife, a certain Mr.Hornberger (watch that name) acting as godfather. Leitgeb obviously received his first musical training by his father (violin). He made a living in his later years from renting out rooms from his two houses. And about the jokes : there are too many stupidities written about the relations between Mozart & Leitgeb, just to make us horn players look silly. The issue of the different colored ink in his 4rth concerto has employed legions of musicologues. It is very simple: Mozart got hand on different colored ink by chance, and as crazy (in the best way) as he was, he tried out these different colors, just for fun, like an overfilled glas of "weissbier" or in Mozarts case "champagne". That´s it. #################################################################### Am 07.12.2010 um 09:59 schrieb [email protected]: > Thanks for the clarification. > > Could it have been some joke? Maybe Mozart wanted to give Leutgeb some help > as a joke? > > -William > > > In a message dated 12/7/2010 3:57:31 A.M. Eastern Standard Time, > [email protected] writes: > > 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/valkhorn%40aol.com > > _______________________________________________ > 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
