Author: Tony Pay ★2017
Date: 2011-05-25 22:43
Buster wrote:
>> The usage of scordatura in the Contrasts reminded me of a classical period practice I recall reading of: specifically, that classical composers at times, when writing for solo viola and orchestra, notated the solo part a half step lower than concert pitch, and subsequently had the soloist tune each string a semi-tone higher. i.e. increasing string tension to aid in sound projection. I cannot cite this with accuracy, but recall a specific reference of this technique being employed by Mozart in the Sinfonia Concertante K.364. (I believe I read this in Rosen, but as my literature is in a storage unit 200-some miles away, I do not have easy access.) Was this a common practice, and is it a technique utilized in the period orchestras you perform with?>>
It's certainly true that this technique was employed by Mozart in K364.
Our performances (in the OAE say) follow this practice. Modern players have been divided: some say that the projection of the modern viola renders the practice unnecessary; others (eg Nobuko Imai) say that it enhances what is possible.
The rationale is clear: the key of Eb mutes the violin, by limiting access to open strings, whilst the key of D enhances the viola against the orchestra.
It's interesting to contrast this with a possible view of K498, the Kegelstatt Trio, also in Eb. Here the viola doesn't need enhancement on period instruments; the problem is rather that the viola and clarinet tend to cover the FORTEPIANO.
That's exactly the opposite of the problem on modern instruments, where the viola is often at a disadvantage against the Steinway.
On another tack, I am of course amused that Ken is glad that he isn't me. If he were, he would have had the incredible privilege of having worked in chamber music with the likes of Daniel Barenboim, have played under the baton of Rudolf Kempe, have had Henze written a concerto for him, have worked in close collaboration with Berio, Boulez and Stockhausen, as well as played in countless concerts with great musicians. I've been incredibly lucky.
The downside would of course include being unduly irritated by, not so much the opinions, but the pontifications of people who, unblessed by such experiences, hold forth about what those experiences MUST CONSIST OF, presenting the scraps from the tables of practitioners without any real ability to assess the quality of the cooking.
But of course, if Ken were me, I'd have to be HIM. And in at least one regard -- namely that I'd have to have taken his attitude to his post about the Newark document -- I shudder to imagine what that would be like. I think I'd rather die.
Still, I suppose lawyers have practice in dealing with such matters.
Tony
Post Edited (2011-05-29 12:40)
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