Klarinet Archive - Posting 000104.txt from 2004/08

From: =?iso-8859-1?q?Tony=20Pay?= <tony_pay@-----.uk>
Subj: [kl] Beethoven 8
Date: Thu, 5 Aug 2004 07:03:01 -0400

--- Tony Pay <tony_pay@-----.uk> (I) wrote:

> So for example, in Beethoven 8, Trio, first half, last 3 bars: the first bar
> is the end of an ongoing crescendo, and the last two bars are piano.

This is of course rubbish, though the underlying point holds. I was
misremembering the passage, in which the first *two* bars of those three bars
constitute an ongoing crescendo, and *the last bar* is piano. So the next
passage:

> But it would be a coarse player indeed who sustained the final F# strongly to
> the barline. (The F# is in fact the resolution of the appoggiatura E, and so
> must be 'coming away', even though there's an overall crescendo.) Therefore,
> with at any rate the very end of that F# 'quiet', it's possible to begin
> again, with another F#, *louder* than the end of the previous one, but still
> piano.

....should have read:

> But it would be a coarse player indeed who sustained the final F# strongly to
> the barline. (The F# is in fact the resolution of the appoggiatura E, and so
> must be 'coming away', even though there's an overall crescendo.) Therefore,
> with at any rate the very end of that F# 'quiet', it's possible to begin
> again, with another A, *louder* than the end of the previous one, but still
> piano. ^^

In fact, you can see I was pretty mixed up when I wrote it, because if it had
been the last two bars that were piano, I *should* have written:

> The F# is in fact the resolution of the appoggiatura *G*,

...etc.

Sorry about that.

Tony

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