Wednesday, September 21, 2011

Microfoundations Of Classical Music: Just A Little On Analytically-Informed Performance Practice

"Some salient features of Murray Perahia’s finely nuanced recording (0:00–0:33) include a hesitation on the first bar line followed by a subito p, a crescendo and buildup of momentum beginning at the pickup to bar 3 and a diminuendo and relaxation of the tempo in bar 4 after the local climax on ew2 (Ex. 6). Taken together, these features suggest that bars 2–4 form a group with a clear beginning (marked by a hesitation), middle (marked by relative continuity) and end (marked by a ritard )" ...

Alan Dodson "Performance, Grouping and Schenkerian Alternative Readings in Some Passages from Beethoven’s ‘Lebewohl’ Sonata" Music Analysis Volume 27, Issue 1, pages 107–134, March 2008

Image credit: Piet Mondrian (c) 2011.


Next free concert at the National Gallery of Art, Washington, D.C.

Harmonious Blacksmith

Kate Vetter Cain, soprano
Ole Hass, tenor

Italian arias and duets from Monteverdi to Haydn

Sunday September 25, 2011 6:30 PM FREE [First come, first seated]

Presented in honor of
Italian Master Drawings from the
Wolfgang Ratjen Collection: 1525 – 1835


Post a Comment

<< Home