Randolph Peters wrote:
Subito mp sends a mixed message. Who ever talks about something
being suddenly lukewarm? Much better to use p, pp, or even a
quieter dynamic for dramatic contrast. (My comments are general in
nature, not based on any actual knowledge of this piece.)
If the dynamic intent is not clear from the context, then maybe
some text indication could help, but subito seems to be the wrong
word for it.
In an orchestral setting, mezzo-anything should only be used 1) as
a way of fine-tuning the balance with other instruments or 2) as an
in-between kind of dynamic such as when you go from p cresc. mp
cresc. mf cresc. f. Again, this is just a general guide and there
probably good reasons to occasionally ignore it.
Owain Sutton replied:
Like the end of Sibelius 4? ;)
I don't know if the mf at the end of Sibelius' Symphony No. 4 really
works, although Alex Ross makes a good case for it in "The Rest is
Noise."
Speaking of mf endings:
I have a friend, who as a student composer, showed the first movement
of his piano concerto to Leonard Bernstein for comment. Bernstein took
a look at the last mf chord (not realizing there were 2 more movements
to come) and called it a "fuck you" ending.
Either you end big or you fade away was his advice.
On the other hand, if you want to compose in a way that challenges the
assumptions of dramatic and narrative forms in music, mezzo dynamics
are perfectly acceptable (a la Cage and Feldman).
-Randolph Peters
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