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Tue, 27 Jul 1999 15:35:12 -0700 |
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Bob Draper writes, regarding Mozart's 'too many notes':
>He has been applauded for his counterpoint keeping 6 lines going in place
>in the Jupiter symphony.
As well he should...
>Although I like this particular work (unlike most Mozart) I have no
>inclination to sit and follow such a complex construction.
Curious; this is exactly one of my strongest inclinations.
>It seems to me to be like a Juggler keeping balls in the air. I can keep
>more up than you - big deal. The pundits seem to be awarding plaudits to
>M for this line of approach but to me the result seems messy. There's much
>too much going on in 'late' Mozart for my liking as the man seeks to
>impress. The musicians seem to be having a battle with each other.
(Hi, Bob D.) Counterpoint, IMHO, is one of the near-lost (not yet;
constantly revived, to some degree) arts that helps one along from
'guy-who-writes-music' to 'composer'.
Writing 3 or 4 voice strict counterpoint (Mozart, of course, cannot be
strictly be called 'strict') is one of the hardest things I had to try;
and we were working right out of Fux! (Great book, 'Graduus ad Parnassum',
IIRC.) 6 voice florid counterpoint is beyond my ken at this point. I can't
even conceive of starting, let alone sustaining, such an endeavor.
But then again--I love late Mozart. I also love busy, dissonant, 20th
century note-y music; as long as (as was originally suggested) it is not
really superfluous. (Superfluminous?)
Is superfluousness a matter of taste? I'd like to submit:
No.
(I'm probably wrong.)
Bob K., waiting 'till there's another so I have to spell my name out
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