Froberger? Downstairs then left.
----- Original Message -----
From: "Roman Turovsky" <r.turov...@verizon.net>
To: <baroque-lute@cs.dartmouth.edu>; "G. Crona" <kalei...@gmail.com>;
"Christopher Wilke" <chriswi...@yahoo.com>; "Dale Young"
<dyoung5...@wowway.com>
Sent: Saturday, October 23, 2010 10:03 PM
Subject: Re: [BAROQUE-LUTE] Re: Galant definition
All self-expression pretty much starts with Froberger.
RT
----- Original Message -----
From: "Dale Young" <dyoung5...@wowway.com>
Empfindsamkeit is one of the first and boldest expressions of self, to
the
point of narcissism, in artistic expression, especially Muthel, one of my
favorites of the era. All of J.S. Bach's students were emboldened by
their
skill and knowledge,and allowed the freedom by the circumstances of the
time, to do things unimaginable before. The only thing close that I can
think of was the monodists in late 16c Italy, where all musical advances
seem to get their root.
----- Original Message -----
From: "Christopher Wilke" <chriswi...@yahoo.com>
To: <baroque-lute@cs.dartmouth.edu>; "G. Crona" <kalei...@gmail.com>
Sent: Saturday, October 23, 2010 11:07 AM
Subject: [BAROQUE-LUTE] Re: Galant definition
Yes, there is definitely something to it and it has always been part of
music history. The ancient Greeks believed that the various modes could
incite anger, lust, insanity, etc. In the renaissance, Bernardino
Cirillo called upon composers to set aside the cantus firmus and write
Masses in using similar methods as the ancient Greeks to incite piety,
supplication, praise, etc. (The modes he knew were not the same as the
Greeks', however!)
I see Empfindsamkeit as a sort of hyper-extension of the baroque
doctrine
of the affections. It really uses super-affectation, with moods
changing
unexpectedly almost violent contrasts every other moment. Thus,
confident, martial music might suddenly dissolve into a section
featuring
the most tender lyricism and then explode into mood of a frenetic
nervousness. This is really what's meant by calling the music
"sensitive" - quite the opposite of an overly precious manner.
Unfortunately, few performers go out on a limb and play this repertoire
with correctly exaggerated interpretation nowadays. For me, though, it
represents virtuosity of total control.
Chris
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com
--- On Sat, 10/23/10, G. Crona <kalei...@gmail.com> wrote:
From: G. Crona <kalei...@gmail.com>
Subject: [BAROQUE-LUTE] Re: Galant definition
To: baroque-lute@cs.dartmouth.edu
Date: Saturday, October 23, 2010, 4:34 AM
PS. At the same time I have to say
that extreme cases of use of Minor - Mayor can definitely
trigger feelings of sadnes and joy respectively in me, so
there has to be something in the Affekt theory...
G.
----- Original Message ----- From: "Christopher Wilke"
<chriswi...@yahoo.com>
To: <baroque-lute@cs.dartmouth.edu>;
"G. Crona" <kalei...@gmail.com>
Sent: Saturday, October 23, 2010 3:30 AM
Subject: [BAROQUE-LUTE] Re: Galant definition
> Are you speaking of Affekt? Mattheson goes into
great detail about the moods associated with each key, but I
don't believe that this is really more a part of the baroque
aesthetic and not typical of the gallant style.
> There is the famous story about how Baron was made to
look foolish for believing in the then somewhat
unfashionable (and un-gallant) idea of music's power to
excite the passions directly.
>
> Chris
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