[Smt-talk] Theory impacting performance

art samplaski agsvtp at hotmail.com
Tue Jul 3 12:33:32 PDT 2012

Dear Eric,

A couple of quick obvious ones have to do with rhythm and hypermeter:

1) The beginning of Mozart's G-minor Symphony K.550 sounds like the
   first measure is a pickup vamp, with the "real" structural
   downbeat coming in m.2; but when you look at the the two lowest
   Gs in the Vlc/Cb, you find that nope, m.1 is a "strong measure."

2a) Ludwig Van has two classic examples in the symphonies. The first
  is the number of measures in the development/retransition in the
  1st mvt. of the 5th: if you've been conducting and thinking as
  though it's a duple succession of strong/weak measures, you find
  an extra measure by the time the tutti fanfare signals the arrival
  of the recap.

2b) Subtler: in the Scherzo of the 7th, are the 4-measure melodic
  phrases in the oboe etc. organized 2-3-4-1 or 1-2-3-4 in terms
  of metrical strength of the notated bars?

Art Samplaski
Ithaca, NY

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