On 04.09.2007 John Howell wrote:
Which is a pretty wild leap of faith in my book. By the same logic one would have to
assume a priori that he provided his violinists with written parts meant for use by a
single performer only, so he only used one violin on each part, and that is certainly not
On 03.09.2007 John Howell wrote:
Parrott's hypothesis appears to be just that, like the hypothesis that Bach
intended his cantatas to be performed one on a part, but copied extra vocal
parts just for the heck of it!!
Not sure what exactly you are talking about, but if you are refering to
On 9/4/07, John Howell [EMAIL PROTECTED] wrote:
I scanned 3 pages of Parrott's book:
http://web.christophgraupner.info:81/bach/
He shows some interesting stats on other composers and the parts ratio
to singers/instrumentalists. On page 3, there is a foot note where
Graupner and Telemann are
On 04.09.2007 John Howell wrote:
If we picture him as taking 3 months to rehearse for a Fall Concert, that simply is the wrong picture. Remember that in his first 2 years at Leipzig he turned out a new cantata EVERY SINGLE WEEK! Those boys and those musicians could sightread, folks. No
On 4 Sep 2007 at 17:35, Johannes Gebauer wrote:
You probably conduct choirs,
and because Joshua's theories rob you of the whole Bach repertoire you
simply assume there must have been large choirs?
That is as ludicrous an accusation as you accuse John of making.
The dispute is not between
On 9/4/07, David W. Fenton [EMAIL PROTECTED] wrote:
Because they were never used? Or because they got lost? Or because
they didn't need them?
By itself, absence of evidence is not evidence of absence.
Sure it is. When someone makes the claim 16 member choirs were
performing Bach's music, you
Not to mention that often composers have to settle for what someone else
has and/or wants to give them. Example: my Psalm 19-derived motet was
premiered with a vocal quartet and organ. That doesn't mean that it
wouldn't work or that I wouldn't want to hear it with larger forces. As to
how many
And another Bach question: how often did he want equal temperament and
have to settle for anything but?
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
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On Sep 3, 2007, at 7:15 PM, Chuck Israels wrote:
It seems ridiculously picky to notate the value of each note using
voices, or layers, and I may be being overly picky even with this
notation. How is this done in piano music.
No one addressed this part of your question, but as for me--a
On 4 Sep 2007 at 18:14, [EMAIL PROTECTED] wrote:
And another Bach question: how often did he want equal temperament and
have to settle for anything but?
That's a very easy one:
Never.
--
David W. Fentonhttp://dfenton.com
David Fenton Associates
This is not my area of expertise, but doesn't gleichschwebende mean equal
temperament, rather than wohltemperiertes, which is an unequal system? So
would Bach really wish an equal system?
Bruce Clausen
- Original Message -
From: [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday,
Hi Richard,
There are many (maybe most) circumstances in which I would opt for
your way of leaving things to the instrumentalist, and I often do.
In this instance, the roll is part of the forward motion of the
piece, and I want the rhythm I want.
Chuck
On Sep 4, 2007, at 6:30 PM,
Really? You never heard the story about how he twitted Silbermann (sp?) by
playing in A-flat on a non-well-tempered organ?
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message -
From: David W. Fenton [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday,
Dear fellow Finale-ites...
My apologies for cross pointing for those who may see this multiple times.
I noticed an add in one of my ASCAP magazines for this group and sent
off for information and now I'm asking around about them.
I'm debating whether to submit a work that is ca. 11 minutes
On 4 Sep 2007 at 23:00, Aaron Rabushka wrote:
Really? You never heard the story about how he twitted Silbermann (sp?) by
playing in A-flat on a non-well-tempered organ?
You said equal temperament not well-tempered. They are not even
close to being the same thing.
--
David W. Fenton
Yes--there are times when even a control freak like me has learned to leave
some things to the players!
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message -
From: Chuck Israels [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday, September 04, 2007
OK--without getting into the minutiae of this or that intonation system
(something I am ill-equipped to do), I've often heard that Bach had to fight
to get the one he wanted, that would sound good in any key.
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original
At 6:14 PM -0500 9/4/07, [EMAIL PROTECTED] wrote:
And another Bach question: how often did he want equal temperament and
have to settle for anything but?
In my opinion (which seems to be under attack at the moment), NEVER
to the former, and also to the latter. He was perfectly capable of
I've never heard of this group, but I do have several selections (including
a trombone concerto) on Vienna Modern Masters. What kinda of deal are they
cutting you? (Feel free to bring this off-list if you so desire.).
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
-
You know, it's not like there is only one way of playing a notated
rhythm, even a specifically notated one meant to be played
accurately. Written rhythms are in no way inherently less musical
than a roll -- unless the player in question has no rhythmic
authority and no emotional connection
At 11:00 PM -0400 9/4/07, Aaron Rabushka wrote:
Really? You never heard the story about how he twitted Silbermann (sp?) by
playing in A-flat on a non-well-tempered organ?
Nope, but please tell us!
My understanding (from MUCH discussion on the HarpsichordList) is
that any organ that wasn't
At 11:38 PM -0400 9/4/07, Aaron Rabushka wrote:
OK--without getting into the minutiae of this or that intonation system
(something I am ill-equipped to do), I've often heard that Bach had to fight
to get the one he wanted, that would sound good in any key.
No need to get into the details.
Certainly you're right about the possibility of artistic expression
of defined rhythms. We'd be in trouble if not. Even if this guy
figures out how to do what he wants, I wonder what the pianist will
do when he or she gets to that spot. Huh? comes to mind.
Maybe if I could see it...hint
On 05.09.2007 David W. Fenton wrote:
Who made this claim? Nobody in this discussion, so far as I can
recall, but perhaps you could provide an attributed quotation where
someone made that claim.
Well, perhaps not directly, but John was indeed refering to the famous
document, which some people
On 05.09.2007 Aaron Rabushka wrote:
Really? You never heard the story about how he twitted Silbermann (sp?) by
playing in A-flat on a non-well-tempered organ?
well tempered is not equal tempered so you may have to rephrase your
question.
Johannes
--
http://www.musikmanufaktur.com
On 04.09.2007 David W. Fenton wrote:
We know Bach performed his cantatas, but do we know that the Dresden
B Minor Mass parts were used in a performance? I thought that there
is no known performance until CPE's Berlin one quite some time after
his father's death.
The point about
On 05.09.2007 David W. Fenton wrote:
I'm only pointing out the weaknesses in interpretation of evidence
that come from making claims about what was never there based on what
is now there.
Yes, but the whole theory is based on _much_ _much_ more than that. Only
you haven't read it.
Johannes
On 05.09.2007 David W. Fenton wrote:
And I have no objection to that. I only object to those who argue
that it *must* be performed that way, and that's where Rifkin was at
a while back. He's since softened his stance for political purposes,
but I still think he's very dogmatic about the
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