Classical composers werde bored by accented measures...

Listening to a composition of the classical music’s repertoire I just wish to understand, how the composer went from A to B in the dramaturgy of his musical plan. The ouevre should unfold itself as coherent as possible –– spreading a story which drags me into its magic aura. This not only requires a clear perception of the tonal and harmonic structures, but also their mutual relatedness to the carrier which is the metrically divided beat in the bars. It may sound trivial, but it is not. 

Different from jazz-musicians, who shape musical phrases and articulations rhythm-pulse-related to make them sound suspensefully, classical musicians often just play the rhythm sturctures sort of vaguely, making their pitch accents on the strong time in the bar or if it is notated by the composer. They are guided by the melody lines and by the score and not so much by their rhythm feeling. 

So they play melodies in an accented measure, which seems to dictate the manners of articulation at least in regard to the allover-sound. There is little freedom to deviate from the pathes which were used millions of times. But is that a must-do? Again, I think, it is not. 

Classical composers worked hard to indicate almost desperately that they were bored by the the musical system of bars and regular measures. Chopin, who is kind of “damned“ to be a romantically melodic writer, actually strived after rhythmical and articulatory complexity (the two parameters being amazingly connected in his works) –– and he mastered that issue not only in his valses. 

Kommentar schreiben

Kommentare: 0