And Splatklang is when you don't quite manage to play that difficult
chord....
P
2008/9/30 "Mathias Roesel" <[EMAIL PROTECTED]>
<[EMAIL PROTECTED]> schrieb:
> So, is "Spaltklang" the equivalent of other 20th
> century ideas about older music, such as terraced
> dynamics?
Trying to strictly answer your question: No.
The term is not an equivalent of ideas, not of other ideas, not of
other
20th century ideas. Let alone terraced dynamics >;)
Spaltklang does not exclusively bear on Early Music ("older music"),
it
is applied on modern music, too, e. g. some ensemble music by
Stravinsky.
My I suggest that we do not dance around this golden name. It's not
worth it. It's just an attempt of a descriptive term.
Mathias
> --- "Mathias Roesel" <[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
To get on or off this list see list information at
[4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
Peter Martin
Belle Serre
La Caulie
81100 Castres
France
tel: 0033 5 63 35 68 46
e: [EMAIL PROTECTED]
web: [6]www.silvius.co.uk
[7]http://absolute81.blogspot.com/
[8]www.myspace.com/sambuca999
[9]www.myspace.com/chuckerbutty
--
References
1. mailto:[EMAIL PROTECTED]
2. mailto:[EMAIL PROTECTED]
3. mailto:[EMAIL PROTECTED]
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
5. mailto:[EMAIL PROTECTED]
6. http://www.silvius.co.uk/
7. http://absolute81.blogspot.com/
8. http://www.myspace.com/sambuca999
9. http://www.myspace.com/chuckerbutty
