Andrew Stiller wrote: "Perfectly true. But the question raised was specifically about
*Baroque* music, no?"
*Baroque* music, no?"
I asked the question in relation to new recordings of Baroque music, using such percussion; and quite a few of these recordings are by historically informed performance groups.
I mentioned the Naxos recording of the Fireworks and Watermusic. I forgot to mention another recent CD that makes much more extensive uses of these percussion instruments:
Ouverturen: Music for the Hamburg Opera. Jordi Savall's group also used a lot of percussion instruments in their recordings of Lully's ballet scores.
Ouverturen: Music for the Hamburg Opera. Jordi Savall's group also used a lot of percussion instruments in their recordings of Lully's ballet scores.
My question was more along the lines of, why would percussion instruments be suddenly dropped from the Baroque era, when dance movements and forms were such a major factor in almost all the instrumental genres of that period. I just don't imagine on a fine morning in 1680, someone woke up and exclaimed "Ok boys, time to put away the percussion instruments. It's the Baroque and we aren't doing those Renassiance dances anymore."
It just doesn't make much logical sense that music that was so dramatic in nature would automatically jetison such instruments.
I've not seen any of these groups discuss the reasons for including such instruments in their recordings, but I know they are specialists in their fields, and wouldn't do this lightly.
Thanks!
Kim Patrick Clow
Kim Patrick Clow
On 2/18/06, Andrew Stiller <[EMAIL PROTECTED]> wrote:
On Feb 17, 2006, at 6:07 PM, David W. Fenton wrote:
> On 17 Feb 2006 at 15:21, Andrew Stiller wrote:
>
>> On Feb 17, 2006, at 1:55 PM, Kim Patrick Clow wrote:
>>
>>> how authentic is improvised percussion to Baroque music?
>>
>> It's authentic where it is known to have been used (as in Handel's
>> Music for the Royal Fireworks)--and not elsewhere!
>
> Is that a joke?
No.
>
> We know some about performance practice, but very little.
On the contrary, we know a tremendous amount about performance practice.
> From what I
> remember there are some vague statements of the order of "percussion
> instruments would be used with this kind of music" but nothing
> notated and very little documentation of particular performances.
We have personnel lists. We have payment records. We have travellers'
accounts. We have engravings of individual ensembles and individual
occasions. We have musicians' letters and diaries. We have
composition/accompanying methods. We have old dictionary/encyclopedia
entries. This is not "nothing" and it is not "little."
> But we don't know much about appropriate performance for lots of
> notated music, either (e.g., Parisian organum).
Perfectly true. But the question raised was specifically about
*Baroque* music, no?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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Kim Patrick Clow
"There's really only two types of music: good and bad." ~ Rossini
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