Meter as Agency Handout
Transcript of Meter as Agency Handout
METER AS AGENCY: PERFORMING METRICAL MANIPULATIONS IN CHAMBER MUSIC
Edward Klorman, Ph.D. Queens College, CUNY; and The Juilliard School
[email protected] | www.edwardklorman.com Society for Music Theory | 7 November 2014
Fig. 1: Living room in Mozart’s apartment in Vienna, with his string quartets dedicated to Haydn on the music stand (Credit: Erich Lessing/Art Resource, NY)
Discography: Mozart, Quartet in G Major, K. 387: Cleveland Quartet Brahms, Sonata in E-‐Flat Major, op. 120 no. 2: Harold Wright (clarinet) and Peter Serkin (piano) Mozart, Sonata in G Major, K. 379: Gustav Leonhardt (fortepiano) Sigiswald Kuijken (baroque violin) Mozart, Trio in E-‐Flat Major (“Kegelstatt”), K. 498: Charles Neidich (clarinet), Jürgen Kussmaul (viola), and Robert Levin (fortepiano)
Ex. 1a Mozart, Quartet in G Major, K. 387, i
1 2 3 4 1 2 3 4 1 2
3 4 1 2 3 4 1 2 3 4 1 2 …
1 2 3 4 1 2 3 4
Ex. 1b. Alternative barring of mm. 13–19
Ex. 2 Canon per arsin et thesin: Mozart, Serenade for Wind Octet in C Minor, K. 388, Menuetto in canone
Ex. 3a Brahms, Sonata in E♭ Major for Piano and Clarinet, op. 120 no. 2, Allegro amabile
1 2 3 4
1 2 3 4
(Echo) 1
2 3 4
[quasi 3/2 bar] [quasi 3/2 bar] 1 2 3 1 2 3
1 2 3 4 (MC)
Please don’t turn the page. Does the clarinet’s next note sound like an upbeat or downbeat?
Canon per arsin et thesin (second theme) 1 2 3 4
(Echo) 1 2
3=1 2 3 4
Ex. 3b: Alternative barring of mm. 22–27 (following the piano part)
Ex. 4: Slurs, ties, and displacement dissonances in two eighteenth-‐century treatises Leopold Mozart, Versuch: “Nowadays there are certain passages in which a clever composer brings about the expression in a completely unusual and unexpected way [as in the example below]…. Here the expression and the intensity [Stärke] of sound is placed on the last quarter of the bar, and the first quarter of the following bar will be completely calm and without emphasis. One thus does not distinguish these two notes at all with the bow; rather, one plays them as if they were just a half note” (p. 23, my translation; alternative translation in Knocker, ed., A Treatise on the Fundamental Principles of Violin Playing, p. 221).
Daniel Gottlob Türk, Klavierschule: “In example (a) all eight notes are slurred [geschleift], and in example (b) four and four are slurred. The note on which the slur marking begins is very mildly (barely noticeably) accented. In example (g) there is also this mild emphasis (against the customary rule) on the weak notes [schlechten Noten] marked with the (+) sign. In example (h) the F#, D, and B [receive a similar mild emphasis]” (p. 355, my translation; alternative translation in Hagg, ed., School of Clavier Playing, 344).
Ex. 5 Mozart, Sonata in G Major for Keyboard and Violin, K. 379, Allegro (transition and subordinate theme)
Transition 1 2
3 4=1 Subordinate theme (dueling sentences)
1 2 3
4=1 2 3 4 5,
Ex. 6: Mozart, Trio in E♭ Major for Clarinet, Viola, and Keyboard (“Kegelstatt”), K. 498, Trio 4 1 2 3 4 1 2 … Or: 1 2 3 4 1 2 3 …
1 2 3 1 2 3
1 2 3 4 5?
2 1 2 1 2 3 4 5 Or: 1 2 1 2=1
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