Could you give us an example of the way you see ornaments as
dissonance? Name a tune and the measure where the dissonance
occurs. I'm interested to know what you mean.
DD
On the simplest level, this is about consonance and
dissonce.
Most people play French baroque music as consonance, but the
extraordinary length of the ornaments, when played properly,
make it
dissonance.
It is the most dissonant music in early music; which makes
it, to my
ear, both unusual and beautiful.
I have no objection to anyone preferring to remove the
dissonance,
but I don't think it is a trivial or purely academic issue.
There is also a connection, most readily seen in
Charpentier, between
the agreements and the figures.
I recently heard a recording of Corelli's Christmas
concerto.
In one place, there are some sharp dissonances written only
in the
figures of the organ part.
That is, there were no string parts sounding these notes.
These
notes were not played on the recording; for whatever reason,
they
were left out.
It sounded perfectly beautiful. But I would never play it
like that,
unless I simply did not understand them.
dt
At 05:26 PM 6/28/2008, you wrote:
As Ray Nurse said yesterday (and I know he was quoting
somebody else)
"talking about music is like dancing about architecture".
On Jun 28, 2008, at 8:20 PM, howard posner wrote:
Professor Harold Hill wrote:
all this 'quibble' about how to play music is interesting
but
pointless.
True enough. There's nothing more pointless than musicians
who want
to know what they're doing.
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