David Kastrup <d...@gnu.org> ezt írta (időpont: 2020. szept. 27., V, 22:01): > > Hans Åberg <haber...@telia.com> writes: > > >> On 27 Sep 2020, at 19:57, Lukas-Fabian Moser <l...@gmx.de> wrote: > >> > >>> I seem to remember that even in Bach's B minor mass (where E12 was not > >>> yet a thing) there is an enharmonic tie (or at least tonal repetition?) > >>> in the transition from "Confiteor" to "Et expecto". I mean, that > >>> transition is a tonal center nightmare anyway. > >>> > >> In bar 138: > >> > >> <jnfkghmffdnbmoal.png> > >> > >> Basically that is an example of enharmonic equivalence of diminished > >> 7th chords: The tonal centre in the preceding bars is clearly d (d > >> major with hints of d minor), so the diminished chord in bar 138 is > >> most probably first heard as f♯-a-c-e♭ (with expected resolution to > >> g minor), but is then being re-interpreted (and written) as > >> f♯-a-b♯-d♯, resolving to c♯ major functioning as a dominant to f♯ > >> minor. > >> My point is: Even without E12 tuning, this is clearly an example of > >> fully exploited enharmonic equivalence used as a "wormhole" in an > >> otherwise purely diatonic tonal system. There can be no question > >> that this is semantically a tie. > >> > >> (One might raise the objection that, maybe, when performing the > >> piece, a slight adjustment in intonation might be needed in the > >> transition from c to b♯. But this can also happen for bona fide ties > >> in purely diatonic music, so that does not yield an argument against > >> the tie being a tie.) > > The tonal center collapse is done purely vocally in an a cappella > passage and when the instruments come back in, it's in a resurrection > key and instrument groups (like brass) that are typical for it. > > Really, you need to listen to it before sorting it into the context of > its period. This passage is completely out of whack with its time while > it is arrived at from a grandiosely conservative fugue in full ars > antiqua. > > Here is a link <https://www.youtube.com/watch?v=ixFCKKIMvkk> to a > Herreweghe version. The piano extract displayed in parallel would > suggest that there is, after all, an instrumental part even in the 2:30 > and finally 3:00 (or so) locations which is a bit surprising to me since > I remember how we fought keeping the intonation in line so that the > resurrection trumpets could fall right in. I cannot hear instruments > there right now but I have only builtin speakers at low volume right now > so I may be wrong about that.
Not purely a cappella, since the continuo group plays throughout, including (a) keyboard instrument(s) playing the complete chords (in whatever temperament c and his are the same key).