dhbailey wrote:
dc wrote:
Charpentier, in his manuscript, uses the following notation for the
end of a vocal melisma:
http://www.philomela.net/ex/charpentier.jpg
With the quarter note at the end of the second measure shifted one
16th of the beat.
How would you render this measure in a performing edition?
I'm split between notating it exactly as written and changing it to
having the final two beats be:
8th, 16th, 16th-tied-to-dotted-8th, two 32nds
I don't know Charpentier's music well enough to identify the context, so
this may or may not apply. In the music of J.S. Bach, when he was
writing in a "foreign" style (e.g., Italian, or French) where the
ornamentation differed from the common practice of German, wrote out the
ornamentation in full, so that if the performer played exactly what was
written, the piece would have sounded very similar to how it would have
sounded when a performer accustomed to the style intepreted some
particular ornament. I also remember a couple of instances when Bach
wrote out an ornament when he wanted something different from what the
standard interpretation of a particular ornament would be. Might the
Charpentier example referenced be another instance of the same
phenomenon, i.e., this is a solo passage with the ornamentation written
out? In that case, it would seem to me that to convey the composer's
intention to the performer, it ought to be notated as in the ms.
ns
but I know that in his music, written at about the same time, but
written in a style that the performer might not necessarily interpret
correctly, Bach
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