"Nicolás Valencia" <[email protected]> schrieb: > It's interesting he only talks about moderate tempo and adagios. Also, I > wonder if his use of "inégalité" was influenced by the French-oriented taste > of his patron, Frederick the Great,
Fritz spoke French better than German, and he may have tried to supersede Versailles by his castle Sansoussi, but as regards music, he went à l'Italienne IIRC > and how generalized it was among other musicians. One of his other musicians was E.G. Baron, to say the least. Mathias > > -----Mensaje original----- > > De: [email protected] [mailto:[email protected]] En > > nombre de "Mathias Rösel" > > Enviado el: lunes, 22 de febrero de 2010 14:46 > > Para: "Nicolás Valencia" > > CC: [email protected] > > Asunto: [BAROQUE-LUTE] Re: Inégalité > > > > "Nicolás Valencia" <[email protected]> schrieb: > > > Do you happen to have Quantz statement on inegalite? I wonder how > > close > > > his definition was compared with earlier sources. > > > > Here's what I understand to be Quantz on inegal: > > > > "Man muß unter den Hauptnoten, welche man auch: anschlagende, oder, > > nach > > Art der Italiäner, gute Noten zu nennen pfleget, und unter den > > durchgehenden, welche bey einigen Ausländern schlimme heißen, einen > > Unterschied im Vortrage zu machen wissen. Die Hauptnoten müssen > > allezeit, wo es sich thun läßt, mehr erhoben werden als die > > durchgehenden. Dieser Regel zu Folge müssen die geschwindesten Noten, > > in > > einem jeden Stück von mäßigem Tempo, oder auch im Adagio, ungeachtet > > sie > > dem Gesichte nach einerley Geltung haben, dennoch ein wenig ungleich > > gespielet werden; so daß man die anschlagenden Noten einer jeden Figur, > > nämlich die erste, dritte, fünfte, und siebente, etwas länger anhält > > als > > die durchgehenden, nämlich die zweyte, vierte, sechste und achte: doch > > muß dieses Anhalten nicht soviel ausmachen, als wenn Punkte dabey > > stünden." (Versuch, xi 12, p. 105) > > > > (My attempt: "You should know how to make a difference between main, or > > heavy, notes, which are called good notes in Italy, and subordinate > > notes, which are called bad notes abroad. Main notes should, where it > > is > > feasible, be pointed out more than subordinate notes. Inferentially, > > the > > quickest notes in a piece of moderate tempo, or with an adagio, should > > be played a little uneven, notwithstanding their even values, so that > > the main notes of any phrase, viz. the first, third, fifth, seventh, be > > held a little longer than the subordinate notes, viz. the second, > > fourth, sixth, and eighth. However, this holding should not take as > > much > > as a dot.") > > > > It is safe to draw the conclusion from the last sentence IMHO that > > heavy > > notes aren't only played a little longer than light notes anyway, but > > that they are prolonged beyond their value, yet not up to the value of > > a > > dot. > > > > Mathias > > > > > > > > > 2010/2/22 "Mathias Roesel" <[1][email protected]> > > > > > > Reusner's advise to follow the latest fashion in playing inegale > > can > > > be > > > taken as a clue that this "fashion" was not yet selfevident in > > > German-speaking countries in the mid-17th century. It is often > > > mentioned > > > that inegale play was particularly French, but I'm not too sure > > > about > > > that. Perhaps, the French put an extra stress on it, but inegale > > > actually was the old-fashioned heavy vs. light stroke thing. > > Italian > > > musicians from Frescobaldi to Corelli will have made use of it > > well > > > enough. There's a courante by Corelli in the Saizenay ms. that > > > certainly > > > presupposes inegale execution. The last author to mention > > inegale as > > > common practise, that I'm aware of, is JJ Quantz (Versuch xi > > 12). So > > > Bach is well within he scope IMHO. > > > Mathias > > > "Nicolas Valencia" <[2][email protected]> schrieb: > > > > > > > Dear b-lute fellows, > > > > > > > > Following the recent thread on "inegalite", 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 "inegalite"?, i.e. > > any > > > date, composer, etc.? I've heard of some Bach performances with > > > "inegalite", is this going too far? > > > > > > > > Best, > > > > > > > > Nicolas > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > -- Viele Grüße Mathias Rösel http://mathiasroesel.livejournal.com http://www.myspace.com/mathiasroesel
