merely a corollary of the general proposition explained under number three, above.
In vocal music the accent and crescendo marks provided by the composer are often intended merely to indicate the proper pronunciation of some part of the text. Often, too, they assist in the declamation of the text by indicating the climax of the phrase, i.e., the point of greatest emphasis.
The dynamic directions provided by the composer are intended to indicate only the broader and more obvious effects, and it will be necessary for the performer to introduce many changes not indicated in the score. Professor Edward Dickinson, in referring to this matter in connection with piano playing, remarks:[1]
After all, it is only the broader, more general scheme of light and shade that is furnished by the composer; the finer gradations, those subtle and immeasurable modifications of dynamic value which make a composition a palpitating, coruscating thing of beauty, are wholly under the player's will.
In concluding our discussion of dynamics, let us emphasize again the fact that all expression signs are relative, never absolute, and that piano, crescendo, sforzando, et cetera, are not intended to convey to the performer any definite degree of power. It is because of misunderstanding with regard to this point that dynamic effects are so frequently overdone by amateurs, both conductors and performers seeming to imagine that every time the word crescendo occurs the performers are to bow or blow or sing at the very top of their power; and that sforzando means a violent accent approaching the effect of a blast of dynamite, whether occurring in the midst of a vigorous, spirited movement, or in a tender lullaby. Berlioz, in the treatise on conducting appended to his monumental work on Orchestration, says:[2]
A conductor often demands from his players an exaggeration of the dynamic nuances, either in this way to give proof of his ardor, or because he lacks fine-
- ↑ Dickinson, The Education of a Music Lover, p. 123.
- ↑ Berlioz, A Treatise on Modern Instrumentation and Orchestration, p. 255.
