Has this topic been discussed yet?
I've heard people critising major works with quiet endings because they're not dramatic and hence doesn't sound like a conclusion.
Off the top of my head I can think of Devil and the Deep Blue Sea and Tallis Variations. I love both of the pieces and cannot imagine that they'd be any better had they a dramatic loud ending.
In Devil, 3 bars into rehersal marking 37, a truly magical moment in banding occurs when everyone (except flugel) breaths a sigh of relief in unison. (if you don't know what i am talking about, it's just before the 2 euphoniums start the 5/4 section of the piece)
Incidently, my favourite note ever is also in Devil, it's the E in rehersal marking 43 of the 2nd euphonium part. (I hope there are other 2nd euphoniums on tmp who have played this piece, otherwise i will just sound like a looney) I don't know why I like it so much, it just sounds wrong but it's so right it's just great.
Ted
I've heard people critising major works with quiet endings because they're not dramatic and hence doesn't sound like a conclusion.
Off the top of my head I can think of Devil and the Deep Blue Sea and Tallis Variations. I love both of the pieces and cannot imagine that they'd be any better had they a dramatic loud ending.
In Devil, 3 bars into rehersal marking 37, a truly magical moment in banding occurs when everyone (except flugel) breaths a sigh of relief in unison. (if you don't know what i am talking about, it's just before the 2 euphoniums start the 5/4 section of the piece)
Incidently, my favourite note ever is also in Devil, it's the E in rehersal marking 43 of the 2nd euphonium part. (I hope there are other 2nd euphoniums on tmp who have played this piece, otherwise i will just sound like a looney) I don't know why I like it so much, it just sounds wrong but it's so right it's just great.
Ted