Noel,
You're probably right about the tempo relations between the
movements ... but it would be important to know if the "Viennese
baroque composer" (a) was an Italian or influenced by the Italians?
and (b) lived in the early or the late part of which century?. The
second movement is the old "sequialtera" proportion (the note values
have here, I believe, been halved), so one measure (brevis) of three
Semibreves would be as long as one measure with two without the 3/2.
The third movement could be a relique of the old "prolatio" notation,
whereby a brevis is equal to two _perfect_ semibreves ... but here
the tempo relations are/were not always so clear. Providing all this
makes _musical_ sense, I'd run with it. But to be a little more
secure, you'd need a film/facsimile ...
Eric
************************************************
Habsburger Verlag Frankfurt (Dr. Fiedler)
www.habsburgerverlag.de
[email protected]
[email protected]
************************************************
On 18.03.2009, at 11:59, Noel Stoutenburg wrote:
Friends:
I posted this question to the Early Music email list / newsgroup a
couple of days ago, but the moderator has not yet approved it.
While this is only tangentially related to Finale, I _am_ suing
Finale to create a performing edition of the score.
The question arises from a setting of the Ordinary of the Mass by a
Viennese baroque composer, edited by a late Romantic Viennese
Musicologist. In the Kyrie, which is in the customary three
sections immediately after the clefs of the first section the
symbol "C" [NB: this is the bold "C" usually used in music
engraving to mean common time] appears; in the second section,
again the symbol "C" appears, this time followed by a meter
signature of 3/2; the third section, again bears the symbol "C"
with a meter signature of 6/4. Three measures from the end of the
third section is the marking "Adagio". The second section contains
about 40 measures, with notation based on the half note (3 to a
measure), the first and third about 20, with the notation based
upon the quarter note (4 to a measure in the first part; 6 to a
measure in the third). I'm trying to work out the likely tempo /
meter for each section. It seems to me that the fact that the "C"
appears in each section is an indication that the measures take the
same amount of time, so that the relationship is that 4 quarters in
the first section takes the same amount of time as 3 half in the
second, and 6 quarters in the third, I'm taking the Adagio as an
indication of a tempo of about 60, and the other three sections the
basic pulse a bit faster.
This is complicated a bit by the fact that the edition I am
studying does not meet the current standards for a critical
edition, so I don't have the facsimile of the original clefs and
meter indications. Opinions, anyone?
ns
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