On Jul 1, 2005, at 2:54 PM, Lee Actor wrote:
[snip]
lone 6/8 bar immediately
before rehearsal G in the first mvt. of Hindemith's _Symphonische
Metamorphosen_.
I agree that there is a potential metrical ambiguity in the passage you
cite, though musically I think it's clear that the eighth note stays
the
same. It's valuable to look at it inductively, i.e., how would
Hindemith
have notated that measure if he wanted E = E, vs. how he would have
notated
it if he had wanted the beat to remain constant? In the latter case,
it's
likely he would have written eighth note triplets in 2/4, while in the
former case he would have written just what he did write: 6/8 (or two
measures of 3/8, though I think 6/8 is more descriptive of the larger
metrical accent he had in mind).
Actually, I completely agree with you on this--but clearly our view is
not universally held. A similar problem is presented by the trio to the
scherzo of Beethoven's 9th. Tradition has one bar of cut time equal 2
bars of the preceding 3/4, but B's own metronome mark demands a tempo
*twice as fast.* I played it once thus under Rene Leibowitz, and it was
a revelation--much more exciting and dramatic than the traditional
way.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
