Or, might I add an even simpler suggestion: because it sounds interesting... The doubling of parts exists in all kind and and periods of musicmaking, often just for the coloration it provides....
From: howard posner <[EMAIL PROTECTED]> Date: Sun, 23 Dec 2007 08:07:36 -0800 To: baroque Lutelist <baroque-lute@cs.dartmouth.edu> Subject: [BAROQUE-LUTE] Re: Doubling The Parts? > What I mean is: when performing that in an ensemble, what's the > point of the lute doubling one of the other parts? Projection in a large performance space may have been an issue; it could have been a way of creating a super-lute. spaces. Haydn's piano trios often have a similar texture, with the violin and cello playing what the piano plays, or vice versa. It's still fashionable to speculate that Haydn was compensating for the instrument's weak treble, or bass, or whatever. A simpler explanation is that players or listeners liked that sort of thing. It certainly makes it easier to know when you're playing the right notes, which might be a consideration in a casual evening's music-making when everyone has eaten and imbibed well. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
