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Klarinet Archive - Posting 000635.txt from 2004/08

From: Tony Pay <tony.p@-----.org>
Subj: RE: [kl] Internal evidence
Date: Sun, 22 Aug 2004 14:14:06 -0400

On 19 Aug, "dnleeson" <dnleeson@-----.net> wrote:

> Look at the third measure of the concerto (solo part). There you have a
> simple figure for the first half of the measure, and it is repeated in the
> last half of the measure.
>
> To play the last half unchanged from the first half is a wasted
> opportunity.

I sort of disagree that it's a wasted opportunity here, because I think it
has a function. The first two bars are already constitute a falling third
(first bar) that is decorated (second bar) by Mozart himself. Therefore the
third bar -- which, incidentally is another example of the period halving I
mentioned in the discussion of K581 -- serves to expose the underlying
structure of 'falling thirds'.

I do sometimes decorate that bit when it occurs in the recapitulation,
though.

Incidentally, not everyone notices that bars 49-52 contain two instances of
the 'stripped down' underlying structure of what appears in the violin part
in bars 20-22. This is an example of how Mozart gives his works thematic
unity -- in his case, perhaps an at least partly unconscious process.

...By the way, Rheingold went possibly even better in Baden-Baden -- what a
wonderful hall, too. Now *there's* a piece that speaks to the interface
between conscious and unconscious.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd tony.p@-----.org
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
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... If God dropped acid, would he see people?

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