Steve & Jeremy: Where did this piece get ist first performance & by whom ??? The tradition in Vienna is a mouth to mouth tradition and I grew up with the Viennese tradition. If I compare all the recordings of this quintet I have in my collection, I find one after the other funnier with the strangest alterations & sometimes hanging with the printed text like slaves, missing thus all expressions.
The Viennese tradition (I said Viennese trick !) has to do with the articulation and with our particular way to articulate in our mother language - we had that thread years ago - , a bit different from the other German speaking "tribes" and much different from other languages. The language coming next to it is Italian. Open & clear vowels, the softer consonants not too soft, the harder consonants not as hard as in other languages. This way influences the flow of the language, special the tongue. So we "pronounce" the music. Last but not least: I own several over hundred years old printed versions of this K.407 with all the inserts made by their former owners: Freiberg, Stiegler, Schantl, Lewy - sorry none by Leutgeb. When I wrote the advise, I did it from the score & just compared it with the way I did it manytimes. It was just as I wrote. ============================================================ ============================================= -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Steve Haflich Sent: Tuesday, September 02, 2008 2:15 AM To: Jeremy Cucco Cc: The Horn List Subject: Re: [Hornlist] K407 - some advice From: Jeremy Cucco <[EMAIL PROTECTED]> I don't think Hans' statement implies any of what you stated, only that this is the way that the Viennese do it. It certainly can be their method and/or tradition without being exclusive to only them. I don't think you appreciate the question. The Viennese also have traditions of tuning to the ensemble, of not missing notes in concert, and of observing dynamics. But quality players observe these traditions everywhere, so one would never call any of them specifically Viennese. Players nearly everywhere articulate as Hans suggested. It seems (at least to modern ears) both stylistically correct and a felicitous way to accomplish the passage. I'm asking why it should be termed a "Viennese" tradition rather than just a (nearly-universal) tradition. I consider this a legitimate enquiry into historical derivations. I certainly agree with the advice. _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
