 The Clarinet BBoard
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Author: toronto_clarinetist
Date: 2014-12-24 08:41
Hi everyone,
Currently working on this. Since it's XMAS time, I don't really have to option for lessons until the school years starts again - so I would like your opinions! My edition is the Darok one from Germany.
I would like to ask how one interprets the rhythms in the opening section of this piece. Sometimes I get a little confused with the print. For example in the third line, after the fermata, there are 32nds. Before the 32nds, there are triplets and what I would interpret as triplet 16ths. My question is - does this piece switch from 4/4 to 5/8 in this section particular section without being notated? Keep in mind that there are no bar lines until the 3/4 section in bar 5. I would assume that it does go from a 4/4 time signature to a 5/8 or 6/8 or whatever 8 as it is hinted toward the middle of the first page where the eighth note pulse remains the same.
If you have studied or performed this piece please let me know your thoughts! I don't want to listen to too many recordings and end up copying (it is also marked rubato and different people have different ideas about that)- I would like some justification. Thanks very much. =)
Le
Post Edited (2014-12-24 08:57)
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Author: Tobin
Date: 2014-12-24 17:21
Hi Le,
Quote:
Before the 32nds, there are triplets and what I would interpret as triplet 16ths. My question is - does this piece switch from 4/4 to 5/8 in this section particular section without being notated?
First -- Kovacs choice to leave this section unmetered is intentional, to provide you latitude in interpreting the section.
Second -- I don't know where you're finding the 5/8 section? Starting from the beginning of the piece every group fits into the same beat with which you interpret the D's that begin the piece, until you get to the Eb major stream of 32nd's in the fourth line.
Quote:
I would assume that it does go from a 4/4 time signature to a 5/8 or 6/8 or whatever 8 as it is hinted toward the middle of the first page where the eighth note pulse remains the same.
Ok -- that's the problem: it's the quarter-note pulse that remains the same. The eighth notes are sometimes duplet (half of a beat) or triplet (third of a beat), but all of the sixteenth notes are 1/6th of a beat (unless noted as a triplet 16th within triplet eighths -- 1/9th of a beat).
You need to keep the pulse the same throughout the section (not including accelarandi or ritardandi).
James
Gnothi Seauton
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Author: toronto_clarinetist
Date: 2014-12-24 17:57
Thanks for your thoughts James. There is no 5/8 section. I meant that perhaps (only a theory of course) it is implied based on the evidence in the score. Sorry for not being clear enough.
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Author: kdk
Date: 2014-12-24 17:57
Probably needn't be said, but regardless of the detailed relationships among the various subdivisions in this introduction, it needs, IMHO, to have an improvisatory feel, hence the "Rubato" indication.
The same is true, of course, when the same music recurs just before the coda.
If you want to know what Kovacs had in mind, he recorded these pieces himself (I don't have a link handy, but I've seen it advertised and have a copy. Gary VanCott may sell the recording on his website.). No need to listen to "too many recordings" to get help understanding the notation. No need to copy Kovacs, either - just listen to find out what he thought he wrote.
Karl
Post Edited (2014-12-24 18:02)
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Author: DSMUSIC1
Date: 2015-01-05 01:43
I approach the opening freely, not necessarily measured. Take artistic liberty throughout this section. In my opinion a structured tempo is more important at the Moderato 3/4 Section.
Below is a link to my interpretation which you may or may not find helpful..
I would recommend listening to Kovacs interpretation as suggested.
https://www.youtube.com/watch?v=E3eFsRxSgaA
Hope this helps.
DS
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