Dear Jorg,
Your first question is as to whether or not the
notes should be played "Germainic " or
straightforward, or "French", using
inegale. That is not an easy question, and I am
not too certain as to the appropriate
answer. Certainly, this is French like music in
origin, but keep in mind that the date of
publication, a rather late 1724 (as compared to
the 17th century French publications and
manuscripts) suggests to me that due to the time
and style, it should me played more Weiss-like,
more straightforward. Also, it was published in
Frankfurt an der Oder, a distance from France. I
studied all the Conradi book for years, and came
to the conclusion that it plainly sounds better
with lesser inegale, or inequality. That is my
hunch, based on how I interpret this fabulous
music. Inegality seems more appropriate when
there is less of a melody, but Conradi uses long
lines in a seemingly later style, so melodically
to me I understand it as sounding its best played plainly.
The second question is about those slur
marks. There are 2 kinds in this book... one of
them, a leagato bow as you say, looks like a
smile. The other, appears to be an upside down
or inverted smile, or as I call it, a frown. I
agree in that the edition was very carefully
made, and these markings are very
deliberate. Also, I agree that one can not make
the "frowns" sound legato. So, I take it to mean
or imply a very fast appagiatura, or very fast
pull-off. In other works, play the first note
connecting the "frown", and on the 2nd note,
repeat the first note with a very fast pull-off,
or fast appagiatura. I do not have scholarly
andwers, but it is what makes sence to me. I find this convincing.
Lastly, thank you for your comments on my recording.
ed
At 07:07 AM 3/25/2010, Hilbert Jörg wrote:
Dear collected wisdom,
I have been studying the C-Major suite of Johann
Gottfried Conradi for quite a time now, and I am
aware of the fact, that he might be the editor
and not the author. Some of the other pieces
sound pretty much like Weiß, in my ears, but
others do not. I also read the latest
discussions in this mail-forum about this subject.
My first question is this one: Playing the
c-Major Allemande, Courante and the Menuet, I
have very much the feeling, that they should be
played more or less the french way to sound
natural. On the other side the Prelude ant the
Giuge are certainly italian IMHO. This is just
an impression of an amateur player, of course,
but amazingly I found some similar ideas on a
most beautiful CD of Ed Martin. He plays
Allemande and Courante equally in the first
place, and inegal in the repetition. Is there
any evidence, to do it this way or the other one?
My other question concerns the slur-marks (what
ever this is in English). There are the ordinary
ones, such as commas and legato-bows, of course.
But there is also another one a turned bow
under some letters. In the beginning I thought,
it was just another sign for linking two tones,
but looking more carefully on it, I cant find a
real systematic in it. Sometimes a slur is even
not possible. This is surprising for me, because
the edition seams to be very carefully made in
any other matter of articulation. So what does it mean than?
Can somebody help me with my questions?
Thank you very much,
Jörg
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