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Subject: Re: "I Am Always Sad Listening To It"
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Sat, 21 Jan 2017 00:45:48 -0500
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...and in this case, perfectly fitting with the dramatic situation. Calaf and Turandot are playing 
a bold game of one-upsmanship, and the upward sequence illustrates that perfectly, 
succinctly, and with a musical language that needs no explaining to get the point across. (As 
London Tier said, "primitive" - in exactly the way that music can express something we 
immediately relate to.) One could also point to the potential symmetry of that 3-part 
sequence and the challenge of the 3 riddles Calaf is about to face. 

I don't know why the curmudgeonly Mr. Innaurato needs to poke at Puccini and Tchaikovsky 
(of all composers) for using sequences. I can't think of a major composer who hasn't used 
that technique in fitting, appropriate ways. Don't we have more important things to complain 
about? 


On Fri, 20 Jan 2017 12:19:52 -0800, London Tier <[log in to unmask]> wrote:

>But sometimes a
>primitive, predictable structure (Mr. Innaurato references the sequences in *In
>questa reggia*) can be quite effective in the theater. 

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