I really think one needs more substantial evidence. Composers
always have had days when the muse decides to sleep in, yet work
must go forward. Well-wrought, or not. Surely examples in
Beethoven are the Battle Symphony, or as he himself admitted the
Amenda string quartet.
And what about the minuets Mozart wrote for a horse ballet?
Well-wrought? They're downright primitive.<sigh> And there are
those cheap canonic permutation fugues that Bach writes on
Saturday evenings
when he needs a short cut.
The very nature of Brescianello's gallichon partitas and his
symphonies belong in different worlds., One a private
entertainment in galant style for the chambers of someone like
Princess Luise, the other a ceremonial occasion of state
requiring a grand
symphonic gesture. That Brescianello could work in both worlds is
a
pendant to his versatility.
So, I really think we should give back Brescianello his partitas.
Where'd you hide them, Roman?
==AJN (Boston, Mass.)
This week's free download from Classical Music Library is
_Ravel's
String Quartet in F_ This recording is performed by Constantin
Bogdanas (Violin), Florin Szigeti (Violin),
Liviu Stanese (Viola), and Dorel Fodoreanu (Cello).
Go to my web page:
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----- Original Message -----
From: <[EMAIL PROTECTED]>
To: "Lute Net" <lute@cs.dartmouth.edu>
Sent: Wednesday, January 30, 2008 1:48 AM
Subject: [LUTE] Re: Brescianello (was) Re: mandora/gallichon
music
Roman Turovsky wrote:
My 8 cents: "Brescianello" gallichon sonatas don't
demonstrate any similarity of character to the real
Brescianello's music.
The scale ans scope aside- the latter is very serious and
well-wrought music, and the former is neither....
Amen. But also the former is "well-wrought music", perhaps not
very "serious", though. Neither is Beethoven very "serious"
always. If all music would be "serious", no music would be
"serious".
And my statement "is well-wrought" is as absolutely true as is
Roman's "is not well-wrought"...
Arto
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