Klarinet Archive - Posting 000538.txt from 2004/08
From: "dnleeson" <dnleeson@-----.net>
Subj: [kl] Internal evidence
Date: Wed, 18 Aug 2004 17:17:40 -0400
Tony has give a wonderful example of internal evidence in his
discussion of period halving. And while the opening of 581 is an
exceptionally fine case to show that phenomenon, other works do
it even more broadly; i.e., taking an 8-measure phrase and then
chopping it into 2 4-measure pieces, etc. I think there is a
piano sonata where he does it backward; i.e., period doubling.
It is one of the several things that distinguishes him from
almost every other composer, not only of his era but of any era.
Somehow, and by a process that I cannot understand, it creates an
extraordinary excitement to the music.
Of course, I was not happy that at the end of that terrific
analysis, he did a doo doo dump on me, but I've been dumped on by
people not nearly as quaified as Tony, so I'll live with it.
Considering the fact that I am a far better dancer than Tony, his
hostility towards me is understandable.
Now, let me mention that others use the term "internal evidence"
to try and deceive you. They will say, "listen to that
marvellous blah blah blah. Only Mozart did blah blahs like
that," when in fact what they are saying is that they like it and
are using the blah blah theory because they really don't have any
internal evidence to show.
The worst case of internal evidence usage is when it is employed
to establish authenticity, and where the more formal term "style
criticism" is used. A style critic will say, "This piece must be
by Mozart because the style is so much like his."
That was the argument given for the Symphonie Concertante 297B
until Donald Tovey said, "The Man Who Wrote This Work Could Not
Robbins Landon once said, "In every case, whenever style
criticism is used to determine authenticity, the conclusion is
almost always wrong."
But when Tony points out the REAL Mozartean internal evidence
such as period halving, play attention. It (and a few case like
it) are the only ones to which hard evidence is being given.
Such things are almost like Mozart's fingerprint.
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