Klarinet Archive - Posting 000114.txt from 2000/07

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] von Weber Concertos 1 & 2 -Reply
Date: Mon, 3 Jul 2000 16:31:23 -0400

On Mon, 03 Jul 2000 19:24:10 +0100, I said:

> That's not to say that someone who already understands
> phrase-structure would be particularly bothered. (Probably both of us
> could follow the letter of Giampieri's suggestions without
> compromising the musical sense of the score.) But students often
> aren't able to cope with the notion of a surface gesture and an
> underlying structure, and they simply 'play' what's written.
>
> A clean edition that follows Weber's manuscript is much easier to
> discuss in the lesson, and that discussion allows the deeper structure
> to emerge naturally. If you have constantly to ignore all these
> crescendos and funny articulations, it's hard to get off the ground.

It strikes me that it might be worthwhile to give a simple example of
what I mean by this.

There is a fundamental structure in classical music, called the
'appoggiatura'. An appoggiatura consists of a melodic note that is
dissonant with the harmony of the accompaniment, resolving to a note
that is consonant with the harmony of the accompaniment. Not
unsurprisingly for something that moves from dissonance to consonance
(or equivalently, from tension to relaxation) this structure needs to be
understood and represented -- or, at least, not contradicted -- by the
performer.

Giampieri's dynamics and articulations sometimes reinforce and sometimes
contradict appoggiaturas. Because the polarities
'dissonance/consonance' and 'tension/relaxation' have emotional
counterparts -- for example, in the polarity 'rejection/acceptance' --
following editorial dynamics literally may obscure appreciation of these
important emotional cues.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN family artist: www.gmn.com
tel/fax 01865 553339

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