I am all with Hans in his suggestion of the zink being the solo instrument. Only I had not thought of that option myself, as I had forgotten about some monasteries acting as archaic time capsules in regards of music (hence the ciphered bass that close to 1800).
I even would go one step further and assume, that the wind parts are for 2 pairs of zinks: two sopranos and two altos. These instruments would usually be in C and F respectively, but some churches had their organs pitched to a fairly high A. That would make the zinks fit in, if they were considered being in Bb and Eb respectively, If the two wind staves were named Cornetti Corn. that spelling easily could be misinterpreted into Clarinetti Corni when reading from an old manuscript. The piece may be performed with clarinets and valve horns, if one wants to highlight a vocal bass (Eb-eb) supported by a horn playing its melodic stuff in its medium range. I would suggest few strings only and a small organ as an attempt to support a clear perception of the horn. The 2nd horn part is important, but not interesting. Klaus Smedegaard Bjerre --- "Hans.Pizka" <[EMAIL PROTECTED]> wrote: > Thanks for transmitting the pdf file of that piece. I tried > hard to understand the horn part & how it would make sense > to play it with hand horn, as a valved horn did not exist > that time, well, there was an exception: the invention by > Dickhuth with the easy extendable tuning slide which was > pulled back to the original position by a clock spring > mechanism. No, I tried the horn solo part on several other > crooks than the E-flat as on the score. All were > impractical. The ductus of the horn solo is in a range where > the hand horn really sounds clumsy & where severel notes are > really problematic. Could it be, that the composer wrote > "horn" in the part (or score or both), but meant another > type of horn, e.g. the "cornu" or "cornetto", also named > "Zinc" ? This would explain the use of notes foreign to the > reservoir of available notes on the hand horn. Zincs were > used in monasteries widely, and Kempten had a church > orchestra then, also Ottobeuren few kms away. > > ============================================================ > ==================================================== > > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Klaus Bjerre > Sent: Friday, May 19, 2006 4:04 AM > To: The Horn List > Subject: Re: [Hornlist] Lacher - Salve mundi Domina > > I very much understand, why you are puzzled. > > Certainly too early for the valved horn, and not much later > than the Mozart concertos, which display a more advanced > usage of the hand horn, than seen in most, if not all, of > the ensemble horn writing of the time. > > Most notes would be possible by a very advanced hand > technique for the period, but I don't find it likely. And > the low A would be just about impossible. Some passages use > the same material as KV447, others would be possible one > octave up. But then they would be very high and stick out of > general tessitura of the part as well as of the ensemble. > > Some of the "tutti"-writing is quite simple, but a passage > like bars ## 82 through 85 does not look likely as being > period horn parts. > > My take is, that the period copyist writing the only source > for the modern edition did some errors in the attempt to get > the score down on 8 stave paper. > > The clarinet writing is not very advanced, so the potential > tutti bassoon writing wouldn't be that either. And the solo > part would be possible on bassoon. The winds of this score > simply may be two clarinets and two bassoons. The first > bassoon then would play the soloist interludes and obligatos > as related to the entries of the vocal bass. > > My theory is not flawless, as some of the tutti-horn writing > of the modern score edition very much looks like period > horn-writing. Letting the 2nd bassoon end on the third > doesn't look very likely for the period. > > Maybe the copyist has tried to jam 2 clarinets, 2 bassoons, > and 2 horns together on two staves. > > The combination of a figured bass (with at least one error - > in bar # 92) together with clarinets isn't very common > either, but then that does not affect my theory. If you read > the German text, you will find, that this piece is not > necessarily out of the hands of the said composer. I haven't > heard this piece, but from what I can read, it is > Mozart-VERY-Light. > > Klaus Smedegaard Bjerre > > --- Graham Jarvis <[EMAIL PROTECTED]> wrote: > > > Dear Listers > > I found this work for Bass soloist with small orchestra > featuring a solo horn. > > http://www.muenster-musik.de/files/La_SaPa.pdf > > But... > > I can't make head or tail of the horn part- is it wrongly > transposed > > and should be an octave higher - or am I missing something > - too early > > to be for valved horn - but surely can't work on hand-horn > in this octave - at least not throughout. > > Ideas?? __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
