Mozart notes week6-8 - Week6 00:06 Authenticity...

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Week 6 00:06 Authenticity:  historical authority 18 th  and 19 th  century music is far away in time; we don’t have all the actual  ingredients and only pieces of how it should sound we don’t know how it was originally intended to sound; no such thing; it is what  we find convincing historically informed performance practice: using information vs. trying to re-create e.g., attire, acoustics in theatres usually applied 1500-1830 “period,” “period practice,” “performance practice,” “early music” German marketing tool “authentic” Sources of evidence: Iconography: how they wanted the stage, instruments, orchestra set up;  unreliable Documentation: Eye/ear witness accounts Encyclopedias: describing sound can be hard, opinions are different (taste) Treatises: instruction manuals  Autograph manuscripts: more shaping than print Instruments – baroque violins uses guts from sheep as strings; modern uses  steel, baroque has gentler sound; many instruments are modified over the years;  pitch differed everywhere Why bother? Expressivity: appropriate sounds/dynamics
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Making sense of a different aesthetic Recovering lost history Doing something new and different with “the classics” The Basics Breath (length) Articulaton: pace of life Gesture The human scale Human voice What they never had: Internal combustion Jet engines Amplified sound Electric noise Constant background music Schubert minuet 5 th  sympony Horn Concerto No. 1 in D Major K412 (1791) Piano Concerto No. 17 in G Major K453 (1784) – McCleary article Mozart in his “mature” age – held public concerts, reputation becomes important In Vienna and becomes one of the most sought after 1791 when he died: unfinished horn part written out, but dindt finish orchestra.  Seussmeier completion: “composer authenticity”
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Horn concerto K412 (1791) Rondo: religious times/festival so sussmayr adds Sussmayr arrangement – holyweek in a churchy section Written for Joseph Leitgeb – met in Salzburg Hunting horns Natural horns “crooks” – little detachable loop that allowed different keys Bach Brandenburg Concerto No. 1 (1725) First movement Gregorian chant quotation is different than rest of song (Sussmayr part) Horns: outdoor instrument; horn calls during the hunt; nobility past time mid 1600s brought horns indoors; approved of horns in orchestra problems: once could only plain one key and only certain notes outdoor topos: pastoral, or the hunt, the woods video e.g., Brandenburg concerto No. 1 (1725): not reliable horn instrument  concerto; difficult Concerto as a social text Mattheson (1713) – “each part in turn comes to prominence and vies, as it were,  with the other parts”
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