String Quartet no 1, “From My Life” – Bedřich Smetana
“Coucher de soleil sur le lac Léman“ (1874)
_________
paying attention to tenuti is not as
easy as all that, you’ll have found
probably that the music’s kept on
going and you’re not so sure if
what just went by indeed was a
tenuto, so brief, however stressed,
might’ve been the impression
rubati are easier, it’s hard to miss
them when they come round, for
being spread out through the
musical passage as a
consequence of being at the very
least three notes, usually
considerably more
tenuti happen on one note only,
one fleet fish in an ebullient river
rather than a more noticeable and
synchronous school
interestingly, not many of either,
rubati, tenuti, show up in music
history until the late Romantic
Era, the mid- to late 1800s, they’d
been only theoretically, and here
and there, part of the musical
vocabulary for having had no
purchase in music written for the
harpsichord, an instrument that
had allowed only minimal
resonance, though it laid the
foundations for composition,
and therefore dictated taste
into the very mid-nineteenth
century, a whole hundred years
after the invention of the piano,
by having entrenched the ideal
of strict tempo, the reflection,
note, of an ideal, and belief
then in a scientifically cogent
world
that was the Enlightenment
Romanticism came along to
express the ineffable reality of
the truths of the human heart,
in contrast to merely reason –
“Le coeur a ses raisons que la
raison ne connaît point”, says
Pascal, “The heart has its own
logic which allows it to
understand what the rational
mind cannot”, though he in a
somewhat other, much more
theological, context
but the shoe snugly fits, so I’ll
wear it, though with the same
consideration I’d render the
shoes, understand, of my
father
you can tell we’ve reached the
late 1800s when you start
hearing tenuti, ritardandi,
atonality, for that matter, and
also obscure and eccentric
repetitions
this pattern is probably more
evidenced in pictorial art,
where precision gives way to
individualized expression,
and the blurred lines of Early
Impressionism, see above
at the same time, the German
grip on the history of Western
music which it had held for a
hundred and fifty years, from
Bach to Brahms, began to loosen,
along with the idea, incidentally,
of a rationally, even irrationally,
conceived world, you can hear
it in the evolution of the tenuti,
the rubati, like canaries sense
altered conditions in a coal
mine
note however that music itself
is as indifferent to bald facts
as mathematics, it merely
describes, doesn’t comment
listen to Bedřich Smetana, a
Czech composer, his String
Quartet no 1, “From My Life”
follows in the footsteps of
the Germans, but with a
distinctively folkloric air,
there’s even a polka
tend the tenuti, relish the
rubati, if you can identify
them, they’re milestones
to the modern
but, more than anything,
enjoy
Richard
Richibi's Weblog 