Klarinet Archive - Posting 000107.txt from 2008/10
From: "Keith" <bowenk@-----.com>
Subj: RE: [kl] Karl Leister K.622
Date: Mon, 20 Oct 2008 12:05:49 -0400
Duh, fourth yes.
Need to go check my score for the other passage (am not at home, so doing it
in my head and can't count to 4 let alone that far ...).
And what you write about bar 3 is interesting. In your 'phrasing in
contention', which I commend to anyone who hasn't read it yet, you make the
point about phrasing that contradicts the classical pattern of modulation,
for example phrase markings that run over a bar line. But this is different
as there is no marking (that we know of). Is this not one of those
possibilities for performer creativity of which you speak? And would not
different ways be not only acceptable but valid? Another time, you might
yourself not want to say 'Mozart is winking' but instead, 'Mozart is
repeating and echoing the phrase using the classical pattern' or even 'I'm
going to play the second half louder to make darn sure you all get this
falling third thing'!
One could even argue that one nowadays makes a point by using classical
modulation because it is rarely played that way!
I like the breathing analogy.
Keith
--------------------------------------------------------
On 20 Oct, "Keith" <bowenk@-----.com> wrote:
> Because they are embellished versions of it? Falling fourth as the basis,
> with the interval filled with appoggiaturas and passing notes; which
> indicates stress on the appoggiaturas? The third bar is two repeats of the
> first bar figure, transposed one bar down; which indicates playing it
> largely the same way as the first bar, but with the second half weaker
than
> the first half, for classical metrical accent pattern?
Yes, exactly. (You meant falling third, not fourth.)
Now apply that sort of analysis to the other passage. Joe had the right
idea,
but not the right details (according to me;-)
What you write about bar three is interesting. I've come to think that you
should play that rather as an exact repetition. It makes it 'special' -- as
indeed it is, being Mozart's wink at us as he lays bare his structural
strategy for the concerto: namely, to exploit the number 3 mercilessly.
In the context of things being naturally modulated according to a set
pattern
(the canonic bar-structure, or classical metric accent pattern as you call
it), what is UNmodulated becomes expressive. Think of how it's possible for
a timpanist imperceptibly to modulate the opening four strokes of the
Beethoven violin concerto so that it sounds both natural and elegant; and
the
consequent increase in meaningfulness of the equal hammerblows of the full
tutti!
By the way, I recently thought of another analogy for the canonic 2/4 bar:
if
you sit quietly, breathe normally and notice your breathing, you get a very
slow 2/4 bar that has the right structure. It goes, IN... then (relaxed),
out. So we might say that bars in classical music are alive because they're
breathing, rather than alive because they're having to go somewhere.
Tony
--
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mobile +44(0)7790 532980 tony.p@-----.org
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