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Re: Mozart Kegelstatt

Author: Tony Pay ★2017
Date: 2008-06-05 15:58

I wrote:

>> ...[I'll] say something about the fortes, later.>>

Given that both barlines and bar-structure are to be shown to a greater or lesser degree in the style -- and that it's how you MODULATE that showing that gives you expressive and rhetorical power -- the fortes are less problematic. They could have been put there by some 'helpful' someone other than Mozart (who we know didn't have them as part of his conception at least when he wrote the manuscript) in order to emphasise what I would say is already implicit -- namely, that the bar needs to be heard as is in 1. You might want to play the downbeat quite strongly -- though not shockingly -- even without the forte marking.

Actually, these four bars, 16-19, are in several ways the trickiest of the movement to bring off. I think the best solution (you must find your own, of course) is to play the last quaver of bar 16 and the first quaver of bar 17 quite 'shaped', particularly the first, so that the first half of bar 17 has an 'in 6' feel; then the next quaver in bar 17 slightly less 'shaped', shading into a light 'in 2' feel for the second half of bar 17; and back into 1 for bar 18 -- notice that the beginning of bar 18 is stronger than the middle of bar 17 (the 'hierarchical 2' requirement, hence the forte implication at the beginning of bar 17). The next two bars repeat the process.

That sounds ridiculous in words, which is why we hardly ever use words to describe such things in detail. A better way of going about communicating it might be to say that the bit of the phrase with separated quavers 'dances', or 'speaks' for a moment before returning almost immediately to song.

And as I hinted before, considerable trial and error may be necessary before the idea turns into something that feels natural to all three players and that they are happy with -- particularly since clarinet and viola have octave Gs that must match in both shape and intonation. (Our written A is not the easiest of notes to shape, after all.)

Tony

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Mozart Kegelstatt new

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2008-05-27 09:27