Author: dorjepismo ★2017
Date: 2019-04-20 20:56
Not sure what kind of discussion you're looking for, and am resigned to the probability that this isn't it. There are different ways of doing the two bars, some of which are much more likely to represent common 18th century practice than others, and from the moderate but not impressive amount I've read about that practice, your suggestion fits it much better than what I would understand to be the "swoon." This approach, though, can be taken too far. I read something that suggested that any competent timpanist of the time would have clearly emphasized the first and third notes of the first bar of the Beethoven Violin Concerto, which hardly anyone would think to do today. One of the things about Beethoven, though, was that he wrote a lot of stuff that nobody else at the time would have thought to write, and expressed some things most other composers wouldn't have thought to express. It's at least plausible that, when he conducted the piece himself, he would have wanted something different from the simple THUMP thump Thump thump that might have been fine with a more convention-bound composer. That is, convention of the time fills in when performers don't have a specific intention about a passage, but not necessarily when they do. We have a lot of sources for 18th century conventions for playing passages like these, but at least until performers like Liszt and Paganini, we might know less about the specific kinds of interpretive choices that separated extraordinary soloists like Mozart, Beethoven, Stadler and Franz Clement from the section players.
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The Clarinet BBoard
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