The Consort of Music : a Study of Interpretation And Ensemble
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When it passes up to F sharp, this note must be very carefully made quite distinct from the reiterated quavers that have just been played, and must be slightly subordinated to the B, to which the three F sharp quavers have now passed ; the same thing, a twelfth below, has to be contrived in the left hand, but it may be doubted if any one has ever succeeded in playing these bars so that the unaided ear could distinguish the motion of the four parts quite clearly.
To go through the classics in de...tail and point out all the places where ' ensemble ', as between the two hands of the player, is required, would evidently be impossible as well as tedious; it must suffice to refer to some 'leading cases', in some of which famous artists have been led into exaggeration by their anxiety to show themselves more intelligent than their fellows. These in- stances naturally occur in the most hackneyed pieces in the repertory. For example, in the ' Waldstein ' sonata of Beethoven, Op. 53, at bar 38 of the first movement, there is a sforzando over an inner part, the note B being about to lead into the repetition of the second subject an octave below its first appearance.
What to read after The Consort of Music : a Study of Interpretation And Ensemble?
You can find similar books in the "Read Also" column, or choose other free books by Fuller-Maitland, J. A. (John Alexander), 1856-1936 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
When it passes up to F sharp, this note must be very carefully made quite distinct from the reiterated quavers that have just been played, and must be slightly subordinated to the B, to which the three F sharp quavers have now passed ; the same thing, a twelfth below, has to be contrived in the left hand, but it may be doubted if any one has ever succeeded in playing these bars so that the unaided ear could distinguish the motion of the four parts quite clearly.
To go through the classics in de...tail and point out all the places where ' ensemble ', as between the two hands of the player, is required, would evidently be impossible as well as tedious; it must suffice to refer to some 'leading cases', in some of which famous artists have been led into exaggeration by their anxiety to show themselves more intelligent than their fellows. These in- stances naturally occur in the most hackneyed pieces in the repertory. For example, in the ' Waldstein ' sonata of Beethoven, Op. 53, at bar 38 of the first movement, there is a sforzando over an inner part, the note B being about to lead into the repetition of the second subject an octave below its first appearance.
What to read after The Consort of Music : a Study of Interpretation And Ensemble?
You can find similar books in the "Read Also" column, or choose other free books by Fuller-Maitland, J. A. (John Alexander), 1856-1936 to read onlineMoreLess
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