By Clive Brown
The previous ten years have noticeable a speedily turning out to be curiosity in appearing and recording Classical and Romantic tune with interval tools; but the connection of composers' notation to appearing practices in the course of that interval has got basically sporadic cognizance from students, and lots of facets of composers' intentions have remained doubtful. Brown right here identifies components within which musical notation conveyed particularly diverse messages to the musicians for whom it was once written than it does to trendy performers, and seeks to appear past the notation to appreciate how composers may need anticipated to listen to their song discovered in functionality. there's considerable proof to illustrate that, in lots of respects, the sound worlds during which Mozart, Beethoven, Wagner, and Brahms created their song have been extra noticeably diverse from ours than is usually assumed.
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Additional info for Classical & Romantic Performing Practice 1750-1900
This was in passagework with relatively fast-moving equal notes. 42 J. F. 44 Hummel, Carl Czerny, and Manuel García were among those who gave illustrative examples of this kind of selective accentuation; García explained that the accent ‘(according to the artist's instinct) is placed on any one sound selected in passages of equal notes. This is done to avoid monotony’ (Ex. )45 As in other 40 Musikalisches Lexikon, art. ‘Accent’. 41 In Rees, Cyclopaedia, art. ‘Accent’. 42 Die wahre Art, 7. 43 Neue Singe-Schule, 134.
11,) therefore, where syncopation might continue for some time, the metrical accent in the melody could be at odds with that of its accompaniment for a considerable period. Ex. L. Mozart, Versuch, IV, §23 Yet, although most authorities seem to have been in agreement about the accentuation of syncopated notes, a few authors suggested that, in certain circumstances at least, syncopated notes might receive the accent on the part of the note that occurred on the normal metrical strong beat. In the original edition of his Violinschule Leopold Mozart unreservedly condemned this practice.
111 A Complete, 42. INDICATIONS OF ACCENT 41 Ex. 112 Such approaches to the performance of syncopation are at odds with modern orthodoxy, which, like Leopold Mozart's earlier handling of the subject, stresses that it is always bad style to accent the second half of the note. It is possible, however, despite Mozart's explicit prohibition of that practice, that in the eighteenth and nineteenth centuries there was a greater tendency to press on the second half of an isolated syncopation when dissonance occurred at that point; and Baillot's and Romberg's discussions of the subject indicate that (except in keyboard playing, where such an effect was impossible) this kind of treatment may not infrequently have been made a feature of the passage.