Kim,
I think what Telemann — and/or his copiest — is doing here in TVWV
1:644 is to alert the viola player to the fact that he is playing the
same line as the bass, albeit an octave higher. This happens a lot in
Telemann manuscripts, with even the violins often being written in
bass clef to show the same thing, a phenomenon which some researchers
call "bassett notation". In the case of the violins it's more obvious
what the purpose of the notation is, but I suspect that the same
thinking applies to such viola parts.
Is the cantata to appear somewhere where the public can get its hands
on it? If so, you could let me know so that I can register the fact
in my database.
Good luck with your work!
Eric
On 21.12.2008, at 03:21, Kim Patrick Clow wrote:
On Sat, Dec 20, 2008 at 9:13 PM, David W. Fenton
Which cantata?
TWV 1:644 "Gott fahret auf mit Jauchzen" which is for Ascension
Sunday,
but it's odd that it's so meagerly scored.
I guess it's weak because of the two voice writing.
Telemann gets such a bad rap because it's not Bach.
Well my editor is definitely not in that camp, I have to admit it's
rather weak too. If you want, I can send you a PDF of the score.
I am more and more convinced that a huge amount of music in the 17th
and 18th centuries drew its power from rhetorical performance,
something that is not notatable, and that is often lost in the
performances we get on a lot of recordings, which are often nothing
more than sight-reading sessions with the tape running.
I think so too, especially with the purely instrumental music.
Thanks
Kim
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David W. Fenton http://dfenton.com
David Fenton Associates http://dfenton.com/DFA/
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Kim Patrick Clow
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