Klarinet Archive - Posting 000618.txt from 1999/10

From: "Michael Whight" <michael@-----.uk>
Subj: Re: [kl] The first two bars
Date: Wed, 20 Oct 1999 08:52:18 -0400

> What I had been on about was the lowest level.
>
> What is the structure of speech itself?
>
> Answer: a rhythmic one. Syllables begin and go away.
>
> So the phrasing structure, the metric structure and the harmonic
> structure interact, and the beginnings of each of these....
> ...exhibit the sort of variety that Mike is talking about.
>
This is of course an extension of what you were talking about with regard to
crocodiles and is at the heart of all organised sound. I would be interested
to hear more on your views of the micro-structure of the Mozart and the way
it relates to the more mid-level structure. The micro detail can enhance a
basically sound classical approach which is free of affectation if the
relationship is in balance but I guess that the reference to "swooning" is
either that the performer has applied Romantic principles or that the micro
level does not fit well with other levels.

I heard Charles Neidich's performance at the Proms this year which I found
very enjoyable for the most part although the tendency to over "voice" the
sound in the slow movement sounded too fussy for me and loaded with all
sorts of Romantic pathos. However, what you were talking about with regard
to rhythmic impulse sounds intriguing. In what way would you employ this? As
a substitute for over directional phrasing or as a tool to achieve this?

BTW the rhetorical approach is particularly effective for the last 3 phrases
of the slow movement. I find that many students have a problem achieving a
good relationship between the phrases in this last sentence.

The list may be interested to hear Thea King's views on the second group
material of the first movement. She thinks of it as Mozart demonstrating his
mastery of all compositional forms for the delight of his listeners. He must
have been a bit of a show-off! So we hear first operatic aria style followed
by recitativo, a surprise appearance of his piano sonata style leading back
into operatic influenced concerto format. Genius or what.

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