Nicolas, It never really stopped. Quantz talks about it in 1752, so no need to shy away from swinging Bach or Weiss in the right contexts.
But it goes much further: Very compelling evidence comes in the form of recordings from the late 19th/early 20th century. Up through the 1930's you'll hear instrumentalists and singers using loads of inegalite long after it was talked about it. (For example, Llobet swings almost all the 8ths in the Sor Op. 35, no.22 arpeggio etude that most guitarists know from Segovia's collection of 20.) Rhythmic alteration of the written note values was obviously so common it was just assumed. It was clearly just a part of what one did as a professional performer and didn't need to be mentioned. Chris (I don't consider Gumprecht a German lute composer at all, BTW.) --- On Sun, 2/21/10, Nicolás Valencia <[email protected]> wrote: > From: Nicolás Valencia <[email protected]> > Subject: [BAROQUE-LUTE] Inégalité > To: [email protected] > Date: Sunday, February 21, 2010, 10:24 PM > Dear b-lute fellows, > > Following the recent thread on "inégalité", I'd like to > ask your opinion on the extension of its use. > > I know it's mainly a French, XVII century feature and a > matter of "taste" (whatever it means), as well as suitable > for the "transition" composers or "early" German lutists > such as Reusner, Gumprecht or Losy. > > My question is: when do you stop playing with > "inégalité"?, i.e. any date, composer, etc.? I've heard of > some Bach performances with "inégalité", is this going too > far? > > Best, > > Nicolás > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
