There are so many ways to approach any piece of music that it is hard to understand how static classical music has become in our recording-saturated climate.  Take a Mozart sonata, even the most familiar.  It will, if you let it, turn every notion that you have of whole and half steps thoroughly upside down if not inside out.  Just listen rather than get caught up in fingerings or counting.
Each note follows the preceding not as a result of "this is how it goes" but as a result of constant potential surprise: You expected this to go up, but it goes down!  You thought this would be a short note but I am holding it!  Little things like that, hidden all over the place,  but completely mangle-ironed into flat predictability by generations of dutiful music readers who, dutifully counting, continue to miss the point.


Comments are closed.