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Smart's Postlude in D


caskie

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Hi

 

Can anyone offer a definitive view on the articulation of the first two quaver chords in Henry Smart’s Postlude in D? I have the piece in three editions; one has the quavers slurred, one has them unmarked, and the other edition has them staccato. I prefer the latter (so that the emphasis is more definitely on the first crotchet chord), but in a couple of recordings I’ve heard, both performers have gone for the slurring.

 

Thanks for any thoughts.

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This is not definitive and possibly not helpful: I have a facsimile copy of the original and the first two quavers are unmarked. However, somewhere I have a quite old recording (LP, not CD!) and the initial quavers are 'detached' rather than a real staccato. I played the Smart recently as a postlude and at a concert and find that I play those quavers - and subsequent repetitions of the pattern - with a mild detached touch aiming to focus an accent on the first beat of the ensuing bar(s). It may of course depend where you play - I have a large sluggish 3 manual instrument that needs to be told who is boss sometimes. Perhaps it is more a question of a neat articulated legato rather than straight staccato just to give the piece an initial kick start and to help it move into action. I think slurring the quavers rather ineffective.

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