At 9:42 AM +0200 10/19/06, dc wrote:
Mark D Lew écrit:
I can tell you from my years as a some-time
vocal coach and all-around wonk, when you start
to talk to singers about sources and editions
and stuff like that, 90% of them get a
glazed-over look in their eyes and then reply
with something like, "Yeah, ok, whatever. So
what are you saying? should I slur it or not?"
I also spend quite a bit of time accompanying
and coaching singers, and preparing editions for
them. Though most of them indeed aren't very
sensitive to these issues, there are many who do
care, especially in the field of early music. I
also feel the others can and should be educated!
And the editions such as the Caccini not only
don't educate them, but give them a completely
false idea of what Caccini wrote. Many singers
are convinced that he wrote the piano part that
is beneath the words, and that all the dynamics,
accents, hairpins, etc., are by the composer,
which isn't the case. Not only are there many
things added that are not by Caccini, but the
few things he did write are not all there (the
continuo figurings).
While this is certainly true, I must point out
that Caccini's (and Monteverdi's) generation was
very stingy with figures, using them only where
they felt they were absolutely necessary. I'm
not even sure that Bach himself used the kind of
nit-picky figures, trying to capture every single
passing note or passing chord, that modern
editors seem to like. The beginning books I've
seen for realizing figured bass assume that you
have both the melody and the bass in front of
you, and that right there gives you at least 85%
of the information you need.
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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