On Fri, 16 Nov 2001 13:17:24 +0100, "Jean-Pierre Coulon"
<[EMAIL PROTECTED]> wrote:
>Since there is some demand for this, either on Mutex, or in private:
>
Right, here goes.
Double-checking those references I could track down at short notice in
my facsimile editions of Quantz and CPE, it's now obvious that the
word is, indeed, "Ausnahme" as Jean-Pierre originally said.
It's also obvious when you try to translate the passages that no one
English word will do for every occurrence. But the word in each case
refers to how the music is "made out" -- heard -- by the ear, i.e. how
it sounds -- whether it be sound *quality* or the actual notes that
are played for a specific trill symbol, etc.
I hope the following off-the cuff translations are of some use to you.
>CPE Bach p. 81, � 30 (or p. 62 of my French translation):
>
><ref to fig XLV> Wir finden allda auch seine Ausnahme vorgestellt.
How it sounds -- its execution (i.e. how it is played)
"The half-trill or Pralltriller, which differs from the other trills
by its sharpness and brevity, is notated by pianists according to the
example in Fig. XLV. There we also find an illustration of how it is
played."
>p.76, �18 (or p.58 with me):
>
>In sehr geschwinder ZeitMaasse kan man zuweilen durch Vorschl�ge die Ausnahme eines
>Trillers bequem bewerckstelligen Fig. XXIX.
>Die letzten zwey kurtze Noten dr�cken alsdenn den Nachschlag nicht �bel aus.
Again, how it sounds -- in this case, how to make it sound good/clear
"When the tempo is very fast, it is sometimes easiest to achieve
clarity in a trill by means of appoggiaturas Fig. XXIX. The two final
short notes then serve well to represent the termination (of the
trill)."
>complement from 1787 to p.92 �24 (or p. 71 of my translation):
>
>[long] ... welches eine schlechte Ausnahme verusachet.
Sorry, can't seem to find this one in the notes!
>end of � 29 p. 94: (top of my p. 74)
>
>[long] ... und die Ausnahme mu� alsdenn ganz nat�rlich und leichte
>ausfallen.
How it sounds -- natural and light
"(... the art of executing (this ornament) well depends on the skill
of playing a good, crisp Pralltriller, and must sound quite natural
and light."
>Quantz, found on the koelnklavier site:
>
Are you sure the chapter no. is right for this one? Doesn't seem to be
in Chapter 16 of my facsimile reprint.
><16> �. 16. [...] Ich behaupte nur, da� ein jeder Componist solche
>Regeln [des Kontrapunkts] zu wissen schuldig sey; die K�nsteleyen
>aber da, wo es der gute Gesang erlaubet, so zu untermischen suchen
>m�sse, da� weder am sch�nen Gesange, noch an der guten
>Ausnahme, irgend einiger Abbruch versp�ret werde; und da�
>der Zuh�rer keinen �ngstlichen Flei� dabey bemerke: sondern
> da� �berall die Natur hervorleuchte. [...]
The sense here seems to be the clear intelligibility of the melody
(i.e. it shouln't be so weighed down with ornaments that the listener
loses track of the fundamental line)
"... I maintain only that every composer has a duty to know these
rules of counterpoint and should strive to incorporate the ornaments
where the melody permits, in such a way that they do not detract in
any way from the melody's beauty and clarity, and that the listener
does not get the impression of anxious effort. Rather, the [true]
nature [of the music] should shine through everywhere. ..."
Hope that helps.
Eva
--
"Everyone who has anything at all to do with music should be
happy, because music is the best of mankind's achievements."
-- Sena Jurinac, 1.11.2001
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