Klarinet Archive - Posting 000075.txt from 2000/08

From: Murray Dineen <murraydineen@-----.net>
Subj: [kl] Re: [[kl] The opening of the Brahms trio, again]
Date: Sat, 5 Aug 2000 12:33:45 -0400

"Tony Pay" <tony_pay@-----.com> wrote:

I'm not suggesting that this in fact corresponds to Brahms's intentions. =
I =

just want to use a modern notation (moving barlines rather than writing =

across them) as a temporary measure, in order to make explicit some =

structures that it's possible to see in the music, and that Brahms might =

have expected his performers to be aware of.

________________

Many years ago, when I was studying "white" Renaissance notation, my prof=
essor
had us rewrite the opening rhythm of certain Beethoven piano sonatas. It =
would
take some swatting up to recall my "white" notation skills, but there mig=
ht be
a Renaissance or Early music type at hand, who could examine the Brahms a=
nd
"Blanche" it. The point my professor (Ernest Sanders) made was that our s=
o
strictly barred notational scheme was infinitely more blunt, less flexibl=
e,
than our predecessors' and their additive notational schemes (especially =
the
use of "black notation" in certain mensurations, which recalls the Brahms=
). I
believe Brahms would have had a certain fluency or at least awareness of =
the
earlier notation. Certainly his rhythmic devices would be more at home in=

something like white notation, especially the Trio! Brahms the
"retrogressive", Tony!

Murray Dineen
University of Ottawa

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