On 5 Sep 2007 at 2:45, Kim Patrick Clow wrote: > 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.
And you're switching contexts here. I was referring to your citation of "three of the leading centers of cantata composition in early 18th Germany." Those other places may or may not have any demonstrated connection to Leipzig. Absent such a connection, it's more an interesting observation than it is evidence applying to what Bach did 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. Based on what I know about the history of the music establishment in Salzburg, I don't think that it's that simple. In fact, substantial musical establishments had their own traditions that lasted through the various music directors, while each music director might have added his own minor innovations (including both musical style and disposition of the personnel). So, Pisendel may or may not have carried Darmstadt practices to Dresden. And so on. More evidence is needed to connect the practices of the two places than just the fact that he worked in both. [] > 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. Biographically, which is only a suggestive starting point towards demonstrating substantive connections between the practices of the different musical centers. -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
