Maria Tipo plays Beethoven Piano Concerto n.4 op.58 (Mov I Part 1)

Maria Tipo, piano
Orchestra del Teatro Olimpico di Vicenza
conducted by Marco Zuccarini
Milan, June 1st 1992

Category:

Music

Tags:

• Maria
• Tipo
• Beethoven
• Piano
• Concerto
• n.4
• op.58
• Orchestra
• Teatro
• Olimpico
• Vicenza
• Marco
• Zuccarini

[guirlandes3]

@joedevenroe {correction to earlier post about intonatsia] "In the rhythmic play of these tiny compositional motors lurks the SOURCE OF ALL declamation: here music whispers, cajoles, rages, shouts, seduces..."

[guirlandes3]

@joedevenroe [re: intonatsia, con't] Thus intonatsia is to music what light and shadow are to painting: a means of determining perspective; it relies on an exponential procedure that gauges dynamic perspective and renders affective expression intelligible. [END- these citations about Intonatsia are taken from my books: "Brahms: A Listener's Guide" and "Liszt: A Listener's Guide" (as well as "Beethoven Symphonies: A Listener's Guide") each published by Amadeus Press]

[guirlandes3]

@joedevenroe [re: intonatsia, con't][ Each pitch is a repository of cumulative energy, pregnant with the one that follows. Like the neural network of the brain, intonatsia is a synaptic process that telegraphs meaning across distance. Purged of the word, which in speech plays host to intonation, music gives sanctuary to affect and inflection. Silence and distance, while properties of intonatsia, are not identical to it, but a measure of its inflective potential.

[guirlandes3]

@joedevenroe [re: intonatsia, con't] Divorced from the word, as it is in instrumental music, intonatsia is the realm of innuendo and bridges the gap between music and social (behavioral) conventions...What concerns intonatsia, then, are not the notes themselves, but what occurs between them. Intervallic space -- the dark matter of music -- is rarely empty, but a kind of gravitational field in which tones emerge, collide, and resurface.

[guirlandes3]

@joedevenroe [re:intonatsia, con't] Equally significant is his [Yavorsky's] observation that "the comparison of two tones (or moments) that have different gravitations [suggest] the expressiveness of speech, the transfer of its sense and character." But in the view of [theorist] Boris Asafiev, intonatsia was also a distillation of social conditions that could be expressed symbolically in music....

[guirlandes3]

@joedevenroe [re *intonatsia, con't] These are, in effect, the musical cells of a composition. In the rhythmic play of these tiny compositional motors lurks the sourcal declamation: here music whispers, cajoles, rages, shouts, seduces...Yavorsky.describes intonatsia as "the smallest form in in time...[and] the disclosing of the expressivity of a tonal cell, that is, in time of the potential energy of a system."

[guirlandes3]

@joedevenroe [re:intonatsia, con't] The nature of that attraction we call an *affect*. Yavorsky aptly described this phenomenon as the principle of *auditory gravitation*. When two or more pitches are horizontally arranged and sequentially distributed, they form independdent units of rhythm, or *motives*, which articulate and drive a work.

[guirlandes3]

@joedevenroe [intonatsia",con't] While its domain is that of microdynamics, intonatsia's aim is to sculpt the musical line and assimilate the inflections of speech. From this perspective intonatsia is an interpretive tool that allows the performer to illuminate the psychological dimensions of a composition.The interval, or distance between two pitches, is the breeding ground of intonatsia.Viewed as the science of musical articulation, intonatsia refers to the attraction one tone has for another.

[guirlandes3]

@joedevenroe Here's an excerpt or two from my writing intonatsia (In "Brahms: A Listener's Guide (Amadeus Press). "In an attempt to adapt one genre, music, to another, speech, intonatsia provides a mechanism for the expression - and experience -of musical affect. The concept proposes an aesthetic connection between musical expression and and speech, and refers to the dynamic tension between notes. [continued...]

[guirlandes3]

@joedevenroe I've written about the subject of intonatsia at length, devoting an entire chapter to it in three of my five books published by Amadeus Press. I address it in even greater detail in my forthcoming book on Scriabin (IU Press) Perhaps you might find it interesting, so I'll cite myself here..... more to come.