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Although we might balk at the clichés (âlimpid poolsâ) and the stereotypes (the apparently weak female who winds up wearing the pants), Formanâs description falls ï¬rmly within ânormalâ discourse in writing about concertos. The hallmark of this tradition is the casting of the /tutti relationship as a dramatic confrontation comparable to those in Greek tragedy or in opera. It is a ew whose origins can be traced back to the eighteenth century. To quote Heinrich Koch: There is a passionate dialogue between the concerto player and the accompanying orchestra. He expresses his feelings to the orchestra, and it signals him through short interspersed phrases sometimes approval, sometimes acceptance of his expression . . . by a concerto I imagine something similar to the tragedy of the ancients, where the actor expressed his feelings not towards the pit, but to the chorus ([1793] 1983, 209). According to this ew, the relationship between and tutti, like that between the Greek chorus and the tragedian, is not agonistic; the chorus does not represent the forces that will destroy the protagonist. As a conservate eighteenth-century man of letters, Koch probably read Classical tragedy not as an external conï¬ict between indidual and collecte,
Journal of Music Theory – Duke University Press
Published: Jan 1, 2000
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