[BAROQUE-LUTE] Re: Doubling The Parts?
There is also the possibility of playing duets with, for example, flute playing the 'alto' part. There are also moments when the violin and lute parts do not exactly match. I suppose one could ask the violinist to amend his score to match, or just go with the differences. And I suppose one could also play them as lute solos without any other instruments - all that would be missing would be the alto part. And how about a cello doubling the bass line? And harpsichord continuo? The poor lute is already getting lost. All good baroque practice, of course. Rob www.rmguitar.info -Original Message- From: "Mathias Rösel" [mailto:[EMAIL PROTECTED] Sent: 23 December 2007 17:23 To: T. Diehl-Peshkur Cc: howard posner; baroque Lutelist Subject: [BAROQUE-LUTE] Re: Doubling The Parts? Answers to why this is so will necessarily be guesswork. What can be stated, however, is that Lautenkonzert as a genre implies doubling of the parts (Radolt, Hinterleithner et al). BTW you could also say that the violin doubles the upper voice of the lute. It depends on which instrument is considered primary. Since the genre is called Lautenkonzert, I'd suggest it's the lute so that the violin has the doubling part. Mathias "T. Diehl-Peshkur" <[EMAIL PROTECTED]> schrieb: > Or, might I add an even simpler suggestion: because it sounds interesting... > The doubling of parts exists in all kind and and periods of musicmaking, > often just for the coloration it provides > > > > From: howard posner <[EMAIL PROTECTED]> > Date: Sun, 23 Dec 2007 08:07:36 -0800 > To: baroque Lutelist > Subject: [BAROQUE-LUTE] Re: Doubling The Parts? > > > What I mean is: when performing that in an ensemble, what's the > > point of the lute doubling one of the other parts? > > Projection in a large performance space may have been an issue; it > could have been a way of creating a super-lute. spaces. > > Haydn's piano trios often have a similar texture, with the violin and > cello playing what the piano plays, or vice versa. It's still > fashionable to speculate that Haydn was compensating for the > instrument's weak treble, or bass, or whatever. > > A simpler explanation is that players or listeners liked that sort of > thing. It certainly makes it easier to know when you're playing the > right notes, which might be a consideration in a casual evening's > music-making when everyone has eaten and imbibed well. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Doubling The Parts?
Answers to why this is so will necessarily be guesswork. What can be stated, however, is that Lautenkonzert as a genre implies doubling of the parts (Radolt, Hinterleithner et al). BTW you could also say that the violin doubles the upper voice of the lute. It depends on which instrument is considered primary. Since the genre is called Lautenkonzert, I'd suggest it's the lute so that the violin has the doubling part. Mathias "T. Diehl-Peshkur" <[EMAIL PROTECTED]> schrieb: > Or, might I add an even simpler suggestion: because it sounds interesting... > The doubling of parts exists in all kind and and periods of musicmaking, > often just for the coloration it provides > > > > From: howard posner <[EMAIL PROTECTED]> > Date: Sun, 23 Dec 2007 08:07:36 -0800 > To: baroque Lutelist > Subject: [BAROQUE-LUTE] Re: Doubling The Parts? > > > What I mean is: when performing that in an ensemble, what's the > > point of the lute doubling one of the other parts? > > Projection in a large performance space may have been an issue; it > could have been a way of creating a super-lute. spaces. > > Haydn's piano trios often have a similar texture, with the violin and > cello playing what the piano plays, or vice versa. It's still > fashionable to speculate that Haydn was compensating for the > instrument's weak treble, or bass, or whatever. > > A simpler explanation is that players or listeners liked that sort of > thing. It certainly makes it easier to know when you're playing the > right notes, which might be a consideration in a casual evening's > music-making when everyone has eaten and imbibed well. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Doubling The Parts?
Or, might I add an even simpler suggestion: because it sounds interesting... The doubling of parts exists in all kind and and periods of musicmaking, often just for the coloration it provides From: howard posner <[EMAIL PROTECTED]> Date: Sun, 23 Dec 2007 08:07:36 -0800 To: baroque Lutelist Subject: [BAROQUE-LUTE] Re: Doubling The Parts? > What I mean is: when performing that in an ensemble, what's the > point of the lute doubling one of the other parts? Projection in a large performance space may have been an issue; it could have been a way of creating a super-lute. spaces. Haydn's piano trios often have a similar texture, with the violin and cello playing what the piano plays, or vice versa. It's still fashionable to speculate that Haydn was compensating for the instrument's weak treble, or bass, or whatever. A simpler explanation is that players or listeners liked that sort of thing. It certainly makes it easier to know when you're playing the right notes, which might be a consideration in a casual evening's music-making when everyone has eaten and imbibed well. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[BAROQUE-LUTE] Re: Doubling The Parts?
What I mean is: when performing that in an ensemble, what's the point of the lute doubling one of the other parts? Projection in a large performance space may have been an issue; it could have been a way of creating a super-lute. spaces. Haydn's piano trios often have a similar texture, with the violin and cello playing what the piano plays, or vice versa. It's still fashionable to speculate that Haydn was compensating for the instrument's weak treble, or bass, or whatever. A simpler explanation is that players or listeners liked that sort of thing. It certainly makes it easier to know when you're playing the right notes, which might be a consideration in a casual evening's music-making when everyone has eaten and imbibed well. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Doubling The Parts?
What I mean is: when performing that in an ensemble, what's the point of the lute doubling one of the other parts? DR On Dec 23, 2007, at 10:20 AM, Ray Brohinsky wrote: > So, rather than realized continuo parts, the lute tablature represents > a condensed score, if you will, for separate performance? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Doubling The Parts?
Exactly. RT So, rather than realized continuo parts, the lute tablature represents a condensed score, if you will, for separate performance? ray On Dec 23, 2007 10:12 AM, Roman Turovsky <[EMAIL PROTECTED]> wrote: So you could play it by yourself. RT - Original Message - From: "David Rastall" <[EMAIL PROTECTED]> To: "baroque Lutelist" Sent: Sunday, December 23, 2007 10:10 AM Subject: [BAROQUE-LUTE] Doubling The Parts? > This question was prompted by looking at the Concerto in Gm by > Lauffensteiner just posted on Rob's site: generally speaking, not > just with WJL but in other trio sonatas and pieces of that sort, why > is it that the lute part doubles the solo instrumental part so closely? > > David Rastall > [EMAIL PROTECTED] > > > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[BAROQUE-LUTE] Re: Doubling The Parts?
So you could play it by yourself. RT - Original Message - From: "David Rastall" <[EMAIL PROTECTED]> To: "baroque Lutelist" Sent: Sunday, December 23, 2007 10:10 AM Subject: [BAROQUE-LUTE] Doubling The Parts? This question was prompted by looking at the Concerto in Gm by Lauffensteiner just posted on Rob's site: generally speaking, not just with WJL but in other trio sonatas and pieces of that sort, why is it that the lute part doubles the solo instrumental part so closely? David Rastall [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
