Klarinet Archive - Posting 000942.txt from 2000/07

From: GrabnerWG@-----.com
Subj: Re: [kl] Mozart's slow movement
Date: Thu, 27 Jul 2000 11:04:40 -0400

Walter comes out of lurk mode to comment on Tony's comments on the slow
movement of the Mozart Concerto:

<< In a message dated 7/26/00 6:32:21 AM Central Daylight Time,
tony_pay@-----.com writes:

In the case of the Mozart slow movement, I find that there are two
contextual realisations that are helpful.

One is to see that the speed of harmonic movement changes quite suddenly
from bar to bar. It's true at the beginning, between bars 1 and 2, but it's
perhaps more clearly seen in the second solo section, beginning at bar 17.
The clarinet line is totally simple in bars 17 and 19, occurring over just
one chord in each case, but the orchestral answers in bars 18 and 20 are
more complex, in the sense that Mozart writes a different harmony for each
beat.

So for someone who appreciates this, unconsciously or not, it becomes
necessary to represent the 'simple' not only in and of itself, but also then
as a response to the more complex orchestral answer -- without getting more
complex in turn. >>

Tony, this is some of the most insightful and USEFUL explanations I have
heard in years. Only in the context of an entire movement can these
subtleties be examined.

I was reading through the Bramhs Quintet wil some friends last night, and we
were discussing the very slow tempi in several of the movements,
particularily the first and second. One approach was that it felt as if the
tempi dragged for llong intervals of time. By exploring how Brahms built up
the climaxes, culminating in some very intense passionate passages, we
realized that our tempi were essentially correct. We had to allow "space" and
time, in which to build.

Only within the context of the entire movement(s) the tempi made perfect
sense. Tony's phrase.....making great music, within a measure.....is NOT the
goal.

Thank you for the precision of your thought Tony.

WG

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