On Sep 2, 2011, at 5:44 PM, Mathias Rösel wrote:

> Where can I read what you seem to quote?

Secondary sources commenting on the writings of CPE Bach, Quantz, a  
few others, maybe even JS.  I don't remember, and I'm not going to  
put in the time to track all that down.  You can be certain that I  
wasn't making it up.

> I was under the impression, rather, that judgments of taste (how  
> tasteful
> and elegant they would sound, and how much emotion, via "affekt"  
> they could
> portray) were left to masters and weren't part of lessons. That's my
> assumption, though.

That would depend on the level upon which master and student were  
communicating.  I'm sure Gaultier and Mouton had very erudite  
discussions.

> I think that taste was a matter not of personal preference
> and whim, but of education. No individual choice, but skill.

I said nothing about whim.  I think that taste was something one  
developed as part of one's education, certainly.  If a person is  
conscious, he is making individual choices.  As for skill, many  
musicians develop great technical skill, but play completely without  
taste.  As they did back in the day.  Once again, I'm not going to  
run to ground the primary source for this, but CPE Bach railed  
against players who were little more than note-machines.

Here is one quote from Dr. Charles Burney, upon hearing CPE Bach at  
the clavichord:

I prevailed upon him to sit down to a clavichord and he played with  
little
intermission till near eleven o’clock at night. During this time he  
grew so animated and possessed, that he
not only played but looked like one inspired. His eyes were fixed,  
his underlip fell, and drops of
effervescence distilled from his countenance. He said that if he were  
to set to work frequently in this
manner he should grow young again”.

That paints a somewhat different picture than an old master, possibly  
more like CPE's father, faithfully grinding out the authorised  
versions of his work.  I like those types of descriptions:  they  
assure me that there's more to historical music than systematically- 
applied historical academics.

DR
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