Allthough I find Mace interesting, colorful,
fascinating, I don't consider him a reliable source.
Sometimes he's the only source, but he obviously is into the fantastic affect.
Matteis, on the other hand, is eccentric, but
organized, as well as a prolific composer and player.
dt
dt
03:23 PM 1/31/2009, you wrote:
Dear Jerzy,
checking the source would be great, but unfortunately I share your
plight, not owning a copy or facsimile of Vm7 6214. I have to rely on
the CNRS edition.
I wasn't familiar with the dating by Rave. The sisters Bocquet
flourished during the 1640ies, so there are some 30 years between this
copy and its possible authors. 30 years of change in style and
aesthetics...
I wasn't looking for the one and only appropiate execution of commas.
I'm suspicious that what I was actually looking for, was some support
for the execution of commas as simple trills. Mace is a good place, as
someone mentioned.
Not as a rule, and by far not at all places. Just e. g. with the opening
chord of allemande #7. I was seeking liberation from the rule that
baroque trills, and French baroque trills in particular, are always to
be preceded by appogiature.
With that opening chord, an appogiatura on the root would obscure and
confuse the recognition of the key. And that's not what ornaments are
generally supposed to serve as.
> some sort of ornamental dissonace at the very begining. At the first
> chord of your Allemande (7) section B, there is also
> 'something' (inverted mordent?) which creates 'harmonic confusion'.
> Similar coma at the first chord have also the Sarabande (18) and
> 'Autre facon' (19)... &ct.
With these two, I have less difficulties, as the comma affects the 5th
above the root. If executed as an appogiatura, the opening chord is a
first inversion, turning back into the basic form which then turns into
a leading major 6th (f-e-f sharp above A). That is playful but not
ubscuring IMHO.
> remember, the music have to please, not cause a headache, even the
> 'historical music' ;-))
YES, wholeheartedly agreed.
Mathias
> > Dear Jerzy,
> >
> > it's amazing to me, indeed, how a baroque piece that starts with
> > a 7th
> > in the opening chord, comes to your mind just like that.
> >
> >> As you asked David, I'll refrain from answering that particular
> > questio.
> >
> > I didn't mean to ask David Tayler exclusively because I prefer open
> > discussions rather than dialogues, and, second, David is not the
> > only
> > expert on this subject.
> >
> > Mathias
>
>
>
>
>
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--
Viele Grüße
Mathias Rösel
http://mathiasroesel.livejournal.com
http://www.myspace.com/mathiasroesel
http://de.geocities.com/mathiasroesel
