Do you have an exact date for the parts? I'm looking at my copy of
Daniel Koury's Orchestral performance Prcatices in the Nineteenth
Century, where he gives many lists of the strengths of different
orchestras. For example, in Munich in 1803, the Churbayerishe
Kapelle, led by Cannabich,
Hi everyone:
I'm just asking for different perspectives on a topic. I know everyone
may have different views on it, so don't get into any flame wars over
this please ;)
I'm working on some Wanhal (or Vanhal) and Cannabich symphonies, which
have 2 oboes, 2 horns, 2 bassoons, etc plus the strings.
Any advice on this topic?
I guess it depends on a few things:
1) Is the score for performance, publication, or some other use?
2) (If it's for performance) Are you going to be the only
conductor/music director using the score?
3) (If for publication) on what size paper will
At 2:37 PM -0500 11/15/08, Kim Patrick Clow wrote:
Hi everyone:
I'm just asking for different perspectives on a topic. I know everyone
may have different views on it, so don't get into any flame wars over
this please ;)
I'm working on some Wanhal (or Vanhal) and Cannabich symphonies, which
On Sat, Nov 15, 2008 at 5:54 PM, John Howell [EMAIL PROTECTED] wrote:
And of course there is never any way to make sure that the surviving parts
are the ONLY parts that were copied. You can't prove a negative!
John
Thanks for your reply John, but the interesting thing is, for this
At 6:00 PM -0500 11/15/08, Kim Patrick Clow wrote:
On Sat, Nov 15, 2008 at 5:54 PM, John Howell [EMAIL PROTECTED] wrote:
And of course there is never any way to make sure that the surviving parts
are the ONLY parts that were copied. You can't prove a negative!
John
Thanks for your
On 15 Nov 2008 at 18:11, John Howell wrote:
At 6:00 PM -0500 11/15/08, Kim Patrick Clow wrote:
On Sat, Nov 15, 2008 at 5:54 PM, John Howell [EMAIL PROTECTED] wrote:
And of course there is never any way to make sure that the surviving parts
are the ONLY parts that were copied. You can't
On Sat, Nov 15, 2008 at 6:37 PM, David W. Fenton
[EMAIL PROTECTED] wrote:
I've lots of experience with MSS from the period Kim is working and
what I see is that Sinfonia a 18 would mean that there are 18
individual lines (parts) in the score. That wouldn't mean 18 staves,
as the two oboes are
On 15 Nov 2008 at 18:45, Kim Patrick Clow wrote:
On Sat, Nov 15, 2008 at 6:37 PM, David W. Fenton
[EMAIL PROTECTED] wrote:
I've lots of experience with MSS from the period Kim is working and
what I see is that Sinfonia a 18 would mean that there are 18
individual lines (parts) in the
On Sat, Nov 15, 2008 at 7:14 PM, David W. Fenton
[EMAIL PROTECTED] wrote:
The really surprising thing to me has been not so much the heavy
bass, but the completely sparse *inner parts*. Heavy bass can work
very well with a full harmony filled out above them, but in so many
cases you see part
At 6:37 PM -0500 11/15/08, David W. Fenton wrote:
John, your reply has actually confused me. I do think Kim seems to be
mistaken, but I may have understood him, too.
I've lots of experience with MSS from the period Kim is working and
what I see is that Sinfonia a 18 would mean that there are
On 16 Nov 2008 at 0:45, John Howell wrote:
At 6:37 PM -0500 11/15/08, David W. Fenton wrote:
John, your reply has actually confused me. I do think Kim seems to be
mistaken, but I may have understood him, too.
I've lots of experience with MSS from the period Kim is working and
what I see
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