[BAROQUE-LUTE] Re: Doubling The Parts?

[Rob]

There is also the possibility of playing duets with, for example, flute
playing the 'alto' part. 

There are also moments when the violin and lute parts do not exactly match.
I suppose one could ask the violinist to amend his score to match, or just
go with the differences. 

And I suppose one could also play them as lute solos without any other
instruments - all that would be missing would be the alto part. 

And how about a cello doubling the bass line?

And harpsichord continuo? The poor lute is already getting lost. 

All good baroque practice, of course. 

Rob

www.rmguitar.info
 
 
-----Original Message-----
From: "Mathias Rösel" [EMAIL PROTECTED] 
Sent: 23 December 2007 17:23
To: T. Diehl-Peshkur
Cc: howard posner; baroque Lutelist
Subject: [BAROQUE-LUTE] Re: Doubling The Parts?

Answers to why this is so will necessarily be guesswork. What can be
stated, however, is that Lautenkonzert as a genre implies doubling of
the parts (Radolt, Hinterleithner et al).

BTW you could also say that the violin doubles the upper voice of the
lute. It depends on which instrument is considered primary. Since the
genre is called Lautenkonzert, I'd suggest it's the lute so that the
violin has the doubling part.

Mathias


"T. Diehl-Peshkur" <[EMAIL PROTECTED]> schrieb:
> Or, might I add an even simpler suggestion: because it sounds
interesting...
> The doubling of parts exists in all kind and and periods of musicmaking,
> often just for the coloration it provides....
> 
> 
> 
> From: howard posner <[EMAIL PROTECTED]>
> Date: Sun, 23 Dec 2007 08:07:36 -0800
> To: baroque Lutelist <baroque-lute@cs.dartmouth.edu>
> Subject: [BAROQUE-LUTE] Re: Doubling The Parts?
> 
> > What I mean is:  when performing that in an ensemble, what's the
> > point of the lute doubling one of the other parts?
> 
> Projection in a large performance space may have been an issue; it
> could have been a way of creating a super-lute. spaces.
> 
> Haydn's piano trios often have a similar texture, with the violin and
> cello playing what the piano plays, or vice versa.  It's still
> fashionable to speculate that Haydn was compensating for the
> instrument's weak treble, or bass, or whatever.
> 
> A simpler explanation is that players or listeners liked that sort of
> thing.  It certainly makes it easier to know when you're playing the
> right notes, which might be a consideration in a casual evening's
> music-making when everyone has eaten and imbibed well.



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html