Klarinet Archive - Posting 000466.txt from 2000/09

From: "Michael Bryant" <michael@-----.uk>
Subj: Re: [kl] Beginning and ending on the tonic
Date: Thu, 14 Sep 2000 04:38:00 -0400

Here is the layout of the structure of the Symphony #1
according to Graham George
It is in G minor framed within a modal C

(C)
I Gmi
I II Bb
I II I Db
I II Bb
I II I modulation
I Gmi I
I Gmi I
------------------------------
I II I
I Gmajor-Gminor-Gmajor
I II I
-----------------------------
I II I
I II I Eb
I II I I
I Gmi I I
I II I Eb
I II I I modulation
I II I Eb
------------------------------
I II I
I Gmi I
I II Bb
I Gmajor-Gminor
(C)

Roger Shilcock/14 September 2000 09:02/Beginning and ending on the tonic

>I've played Nielsen 1, and it certainly doesn't *sound* as if it begins in
>C....
>Roger S.
>
>
>On Wed, 13 Sep 2000, Michael Bryant wrote:
>
>> Date: Wed, 13 Sep 2000 16:16:39 +0100
>> From: Michael Bryant <michael@-----.uk>
>> Reply-To: klarinet@-----.org
>> To: klarinet@-----.org
>> Subject: Re: [kl] Beginning and ending on the tonic
>>
>> Aren't I wicked?! Absolutely and relatively. Sorry folks.
>>
>> The juxtaposition of the keys of Eb and A is interesting in
>> Il Sogno di Scipione K 126 1772
>> Lucia Silla K 135 1772
>> La Finta Giardiniera K 196 1774
>> Il Re pastore K 208 1775
>> Zaiede K 344 1780
>> Idomeneo K 366 1781
>> Die Entfuehrung... K 384 1782
>> L'Oca del Cairo K 422 1783
>> La Clemeza di Tito K 621 1791
>>
>> Handel is another case
>> Sosarme begins in A ends in F
>> Joshua begins in Bb ends in D
>>
>> Carl Nielsen's Symphonies
>> #1 begins in C ends in C
>> #2 begins in Bm ends in A major
>> #3 begins in Am ends in A major
>> #4 begins in A (?) ends in E
>> #5 begins in Am ends in Eb
>> #6 begins in G ends in Bb
>>
>> Hindemith
>> Mathis der Mahler (suite)
>> begins in G ends in Db
>>
>> Mahler
>> 2nd Symphony
>> Begins in Cm ends in Eb
>> 7th Symphony
>> Begins in Bm (?) ends in C
>>
>> (?)= ambiguous
>>
>> MB
>>
>> Daniel Leeson quite rightly wrote/13 September 2000 15:44/Beginning and
>> ending on the tonic
>>
>>
>> >FOUL, Michael!!! (which is quite different from FOUL Michael!!!): Both
>> >L'Oca del Cairo and Lo sposo deluso are fragmentary operas that were
>> >never completed and, therefore, cannot even be considered for a
>> >beginning/ending key analysis. How do you know what key he would have
>> >ended the pieces in had he finished them, and how do you know that the
>> >extant scenes would have been the first ones had he finished them?
>> >
>> >Michael Bryant wrote:
>> >>
>> >> Three operas by Mozart do not close
>> >> tonally, where they begin: They are:
>> >> Apollo et Hyacinthus K 38 1766
>> >> Mozart was 10; probably not
>> >> structurally or historically significant.
>> >> L'Oca del Cairo K 422 1783
>> >> Lo Sposo Deluso K 430 1783
>> >>
>> >> MB
>> >
>> >--
>> >***************************
>> >** Dan Leeson **
>> >** leeson0@-----.net **
>> >***************************
>> >
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>
>
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