I thought Spaetklang was when you can't keep the tempo.
d
At 02:08 AM 9/30/2008, you wrote:
> 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
