Klarinet Archive - Posting 000602.txt from 2000/09

From: Tony@-----.uk (Tony Pay)
Subj: RE: [kl] being expressive in Italian
Date: Wed, 20 Sep 2000 17:35:20 -0400

On Wed, 20 Sep 2000 09:14:10 +0100 (BST), roger.shilcock@-----.uk said:

> Tony Pay wrote:
>
> > In the second movement of the second sonata [Brahms], only the third
> > of the first three clarinet phrases gets marked espressivo. How do
> > we make sense of that?
>
> A crude (?) suggestion on this -- maybe Brahms is giving us (wot, me,
> too?) the opportunity to use a smidgen of rubato.
>
> Roger S.

Yes, that would be a possible suggestion.

But, notice, he might be said to be *requiring* whatever he wanted,
since it's an instruction.

How would the rubato express what he wanted? In other words, what
*change* did he want there?

*I* think it says something about how you play the previous phrases,
too.

Bill Wright however, had written:

> > Well.... the first step for _me_ would be to purchase a copy of it.
> > Am I correct that you refer to Brahms Sonata for Clarinet (or Viola)
> > and Piano No. 2 in Eb major, Opus 120/2?
> >
> > This will be the first piece of 'serious' printed music that I've
> > purchased. I hope that it doesn't cost a fortune, and I know that
> > there's no way I can actually play it; but I would like to continue
> > this discussion and so I need to have the printed music in front of
> > me. Or visit a library. I'm not sure how 'open' the local
> > university music library is to outsiders. I doubt that our public
> > library has scores.

I wonder whether Bill can really be *bothered* to enter into this
discussion. Or whether he'd understand it, if it continued.

Of course, we might try to explain it to him.

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

....I would hazard a guess that the work would not have sounded much different
(even to ears of the perfect pitch variety) had Eb clarinets, C trumpets,
cor ang, Eb horns all been used also. (Tony Wakefield on Schoenberg Op 9.)

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