Aaron Rabushka <[log in to unmask]> wrote:

>Articulations thar appear to be "contradictory" are not necessarily
>confusing of difficult for audiences to absorb.  One example: in the
>first movement of the Symphony of Psalms the four-note ostinato is played
>simultaneously by some instruments in staccato articulation and others
>in a more sustained delivery.  For some older examples, look to the
>ever-popular "Scheherezade." Here, in the second movement, there are
>woodwind cadenzas (sustained) over plucked strings (staccato), and in the
>fourth movement there is one noteworthy episode where woodwinds deliver a
>sustained rendition of the "princess" theme from the third movement over
>a virtuosic staccato obbligato from the trumpet (non-double tonguers
>beware!).

Well - that's certainly true.  However, I believe there is a big difference
between this type of contrast or conflict being noticed in the environment
of a large orchestral piece, as opposed to in a three-instrument ensemble
such as the Poulenc to which I originally referred.  Here the instruments
are much more exposed, with little orchestral 'background' to provide an
aural 'blanket' to absorb some of the stranger textures.

Tim Mahon
Alexandria, VA
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