Johannes Gebauer wrote:
On 31.05.2006 Andrew Stiller wrote:
It seems to me that until about 1800 or a little later repeats were
_normally_ done in the Da Capo.... However, I have yet to see a
performing part from that period where anyone made a note of not
playing repeats in the Da Capo.
I cannot give an exact citation, but I am quite certain that I have
seen scores (more than one) by Boccherini with the instruction "D.C.
senza replica."
Sorry, I wasn't exactly clear in what I meant: What you are saying is
not unusual, and I believe I have also seen it in Boccherini. However,
I'd like to see an 18th century handwritten marking in a performing
part, where a performer has made a decision to not play the repeat, and
marked such in the part. This would indicate that there was a
liberality. If such markings do not exist I very much doubt that such a
liberal practice could possibly have been in place, this would imo mean
that at least as far as orchestras go any marked repeat would always
have been played, because the confusion otherwise would have been
disasterous.
Johannes
Unless there was no confusion because the practice of omitting the
repeats on the D.C. was so widely known that everybody did it and nobody
ever got confused. :-)
The absence of handwritten indications is not proof that the repeats
were taken on the D.C. It might just indicate that the practice was so
widespread and commonly known that nobody needed to write it down. Just
as modern AABA songs which don't take the repeat on the D.C. have no
written indication not to take the repeat on the D.C. Or are you saying
that such obviously AABA structures should be played AABAA since there
isn't any written indication not to observe the repeat on the D.C.?
A lack of handwritten indication that 8ths in modern jazz band notation
are supposed to be swung doesn't mean they should be played straight.
If a certain tradition is widely understood, there's no need to write
anything down.
And this discussion is great proof that in 200 years, when people dig
out the music of the Duke Ellington or Stan Kenton or Count Basie
orchestras, there will be a whole PhD dissertation war on whether the
8ths should be swung or straight, and what degree of swing they should have.
It's nice to know that our era will be leaving behind a wealth of
inconsistent notation to keep future generations of musicologists in
business. That is, if they can ever get beyond investigating
performance practices of the 1700s. :-)
--
David H. Bailey
[EMAIL PROTECTED]
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