Mathias,
So, is "Spaltklang" the equivalent of other 20th
century ideas about older music, such as terraced
dynamics?
Chris
--- "Mathias Rösel" <[EMAIL PROTECTED]>
wrote:
> "howard posner" <[EMAIL PROTECTED]> schrieb:
> > So if I understand correctly, the answer to my
> question about who
> > mentioned "Spaltklang" is that it was 20th-century
> German
> > musicologists interpreting the intent of earlier
> musicians
>
> Yes >8)
>
> As it seems, Heinrich Besseler was the one to coin
> the term.
>
> > I've never encountered an English term similar to
> "Spaltklang."
>
> As results from discussions on other lists,
> spaltklang wasn't translated
> into English musicology. I was told that English
> spaking scholars would
> quote the German term, adding a short explanation.
>
> > It seems to me that Harnoncourt has nearly the
> opposite opinion,
> > writing that the baroque orchestra was like a
> baroque organ, with the
> > sounds of the individual instruments designed to
> blend.
>
> Perhaps Mr Harnoncourt has changed his mind
> somewhere on his way? At any
> rate, that would be contrary to what he presented in
> his book
> "Klangrede" where he said that different colours and
> speaking positions
> in an orchestra (which is what qualifies as
> spaltklang) are, so to say,
> the salient points of baroque music.
>
> > He contrasts
> > the modern orchestra, in which the instruments are
> designed to stand
> > out (consider, for example, the sharper tone of
> the modern flute,
> > oboe and trumpet, in comparison to their baroque
> counterparts).
>
> Erm, are you talking about modern, i. e. romantic
> orchestras? I was
> under the impression that it's baroque instruments
> which stand out, as
> opposed to romantic instruments which are supposed
> to blend.
>
> > BTW, what does "MGG" stand for?
>
> Musik in Geschichte und Gegenwart. It's a standard
> lexicon of music,
> comparable to the New Grove.
> --
> Mathias
>
>
>
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