On 17.01.2007 David W. Fenton wrote:
In a similar example from a later period, it's pretty clear from surviving parts for Mozart piano concertos in Leopold Mozart's hand (I believe they are at St. Peters, and Cliff Eisen prepared an edition for B&H from them that was recorded by Robert Levin at the fortepiano, but I can't recall what period orchestra was involved -- I actually don't own any of these recordings) that there were oral ripieno/solo traditions even in that repertory, since Leopold's parts include some striking effects with solo/ripieno markings (not always simply corresponding to obvious loud/soft associations between tutti and solo).
This is by no means knew research, it has been done. (I did actually take part in one of the Levin CDs with AAM and Hogwood).
Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
