On 9/4/07, David W. Fenton <[EMAIL PROTECTED]> wrote: > You can't apply the practices of one place to another unless there > were demonstrated connections (like shared background of teachers, > and a Kapellmeister or two shuttling back and forth between them). > There was no "European" or "German" practice -- just a whole lot of > little islands.
Well the connections DO exist in the examples I cited: Telemann, Graupner, and Fasch, all were candidates for the kantorate in Leipzig. all had been deeply involved with the musical life of Leipzig, they went to school and graduated in Leipzig. All three of them personally knew Kuhnau. In fact, one of the audition pieces Graupner wrote was a Magnificat very much in the "Kuhnau" style. Fasch started a 2nd collegium in Leipzig, and later studied 16 weeks with Graupner in Darmstadt. Pisendel also studied for sometime in Darmstadt before he ended up in Dresden; Telemann worked with the Darmstadt kapelle for about 10 years while he was a music director in nearby Frankfurt, and knew Bach as well. Fasch also asked Mattheson for his help in having the leading composers of Germany become involved with a "music inter-library" loan, where scores and cantata cycles would be traded and performed. Lucky for posterity this happened, because almost all of Fasch's materials stored at Zerbst were lost or bombed into dust during World War 2. So no, these examples I cited aren't solitary islands of composers unaware of performance habits and normative styles. If anything. they were quite connected with each other on many levels. Thanks Kim Patrick Clow _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
