I've miscommunication: I'm trying to say that mf/mp was never a choice to composers to begin a piece before "Bartok."John Ruggero wrote:John Ruggero wrote
DatOrganistTho wrote:It is the dynamic that the Classical composers expected when they placed no initial dynamic marking in a piece.
Sorry, I don't quite understand your objection. I hope I am applying to the right comment in my post.Not true. Not until Bartok did anyone see this happen.
Is it about Classical composers omitting initial dynamic markings? if so, check any authentic edition of the Haydn Piano Sonatas;
Or that this situation should be interpreted as mF? Some might argue F instead of mF and show cases where F is a better choice. I think it varies with the character of the music. Sometimes a later repetition of the same material clarifies the intended dynamic.
I am intrigued about Bartok. Omitting markings is not something I associate with Bartok. Where does Bartok omit initial dynamics other than in a a few educational pieces like the first few in Microcosmos?
I've got to find some research I did a while back to backup what I have to say, but basically if you look at autographs of classical music (pre-bartok) you do not find dynamics like mf/mp listed at the beginning of a piece (unless it is after another movement). This is because "mezzo" meant "middle" during what is considered pre-20th century music. It only became a more concrete term to mean "medium" loud in the 20th century (Modernism).
This may not be an appropriate comment for this sub, but since you brought it up, I thought I'd jab a quick retort here. I'll post something on this independently in a bit.