Dear Mathias,
So lets to the point and your Allemande.
I don't pretend my method is right but if I'd have such a problem for
the first time I'd first chack the source as I do not always trust
the CNRS editions wich I just catched.The volume was published in
1972, the 'Tableau des signes de doigtés et d'ornements' is probably
exhaustive for the volume's content but as far as the 'comas' are
concerned largely insuficient if not missleading.
From the same year is the indispensable W. Rave 'Some manuscripts of
French lute music 1630-1700...", PhD at University of Illinois. Rave
dates the manuscript Vm7 6214, from which the Allemande comes, as
between 1672 and 1680, links its ownership and hand to Seb. de
Brossard Collection. Besides of pieces of both Gautiers and few
others, it is a unic source of 31 works by 'Boquet' which are found
nowhere else. So the Allemande (CNRS no. 7) is unic and one cannot
chack any other version by another scrib, alas.
The claster of works by 'Bocquet' is specially interesting for the
inclusion of 18 'preludes marquants les cadances bq.' with the
'Prelude sur tous les tons' as the most remarkable of these pieces. I
smell a person of refined harmonic tast in Mr or Miss 'Bocquet' ...or
perhaps Brossard as the scribe who notated someone's improvisations.
I don't have the MS -- which seams to be extremely interesting and
I'd love to have a copy -- but the CNRS edition gives some overal
impression. Most of the 'Bocquet' pieces, beside of Preludes, have
some sort of ornamental dissonace at the very begining. At the first
chord of your Allemande (7) section B, there is also
'something' (inverted mordent?) which creates 'harmonic confusion'.
Similar coma at the first chord have also the Sarabande (18) and
'Autre facon' (19)... &ct.
If I play it, I would have absolutely no objection against the
appogiatura. It's the most harsh in the collection but still
idiomatic. And the source (the MS) is most probably trustworthy.
Now, the whole ornamentation problem in this style of LUTE music is
quite complicated matter, as it is not only 'from above or below'
but... uffff, wolud be a long, long letter. Besides, we have to
remember, the music have to please, not cause a headache, even the
'historical music' ;-))
Jurek
_________
On 2009-01-30, at 14:03, [email protected] wrote:
Dear Jerzy,
it's amazing to me, indeed, how a baroque piece that starts with
a 7th
in the opening chord, comes to your mind just like that.
As you asked David, I'll refrain from answering that particular
questio.
I didn't mean to ask David Tayler exclusively because I prefer open
discussions rather than dialogues, and, second, David is not the
only
expert on this subject.
Mathias
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