Author: Philip Caron
Date: 2017-07-24 21:08
Fascinating interpretive insight from Tony - the bird fleeing off. What about the second instance of the figure at the end of the movement? The second instance is pitched lower, so the posted question doesn't apply. The rings-only fingerings don't apply as well there either, and actually they don't really apply to the fourth (lowest) tier of the descent in the first instance of the figure. Of course, I'm going to sound them out and see what I can do! But it's the dynamic interpretation that interests me more.
My inflation-adjusted 2-cents, sans such a good image, is that I've most lately wanted to decrescendo the descent sequence in tiers, like separate voices, followed by the rising triplets in crescendo through the A trill, with full emphasis on the final G. Sort of like passing through uncertainty to (relative) surety. That's the first time the descent sequence occurs.
The second time seems to me decidedly more triumphal, and (lately) I like the four descending tiers to be equal in surety, like four antiphonal voices all proclaiming accord, so I keep their dynamic level equal. But, hmm!
My apologies if I'm being simpletonish. But Mozart's music seems so rewarding to ongoing reexaminations and tiny adjustments.
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The Clarinet BBoard
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