[BAROQUE-LUTE] Re: Galant definition
Yes thanks Chris, Affekt it was! And even today, affektiert (affected) has negative connotations in germanic languages (artificial, simulated). G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 3:30 AM Subject: [BAROQUE-LUTE] Re: Galant definition Are you speaking of Affekt? Mattheson goes into great detail about the moods associated with each key, but I don't believe that this is really more a part of the baroque aesthetic and not typical of the gallant style. There is the famous story about how Baron was made to look foolish for believing in the then somewhat unfashionable (and un-gallant) idea of music's power to excite the passions directly. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Galant definition
PS. At the same time I have to say that extreme cases of use of Minor - Mayor can definitely trigger feelings of sadnes and joy respectively in me, so there has to be something in the Affekt theory... G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 3:30 AM Subject: [BAROQUE-LUTE] Re: Galant definition Are you speaking of Affekt? Mattheson goes into great detail about the moods associated with each key, but I don't believe that this is really more a part of the baroque aesthetic and not typical of the gallant style. There is the famous story about how Baron was made to look foolish for believing in the then somewhat unfashionable (and un-gallant) idea of music's power to excite the passions directly. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Galant definition
Yes, there is definitely something to it and it has always been part of music history. The ancient Greeks believed that the various modes could incite anger, lust, insanity, etc. In the renaissance, Bernardino Cirillo called upon composers to set aside the cantus firmus and write Masses in using similar methods as the ancient Greeks to incite piety, supplication, praise, etc. (The modes he knew were not the same as the Greeks', however!) I see Empfindsamkeit as a sort of hyper-extension of the baroque doctrine of the affections. It really uses super-affectation, with moods changing unexpectedly almost violent contrasts every other moment. Thus, confident, martial music might suddenly dissolve into a section featuring the most tender lyricism and then explode into mood of a frenetic nervousness. This is really what's meant by calling the music sensitive - quite the opposite of an overly precious manner. Unfortunately, few performers go out on a limb and play this repertoire with correctly exaggerated interpretation nowadays. For me, though, it represents virtuosity of total control. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Sat, 10/23/10, G. Crona kalei...@gmail.com wrote: From: G. Crona kalei...@gmail.com Subject: [BAROQUE-LUTE] Re: Galant definition To: baroque-lute@cs.dartmouth.edu Date: Saturday, October 23, 2010, 4:34 AM PS. At the same time I have to say that extreme cases of use of Minor - Mayor can definitely trigger feelings of sadnes and joy respectively in me, so there has to be something in the Affekt theory... G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 3:30 AM Subject: [BAROQUE-LUTE] Re: Galant definition Are you speaking of Affekt? Mattheson goes into great detail about the moods associated with each key, but I don't believe that this is really more a part of the baroque aesthetic and not typical of the gallant style. There is the famous story about how Baron was made to look foolish for believing in the then somewhat unfashionable (and un-gallant) idea of music's power to excite the passions directly. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Galant definition
The Empfindsamkeit existed as a style of composition (eg. CPEBach), as well as a style of performance (say, the Baron anegdote). It's helpfull to see it as two diferent phenomenons. The first one is quite easily recognizable or even quantifiable (form, harmony, texture), the other one might have been a very subjective case… Now we can only speculate, as on all this HIP. J On 2010-10-23, at 17:07, Christopher Wilke wrote: Yes, there is definitely something to it and it has always been part of music history. The ancient Greeks believed that the various modes could incite anger, lust, insanity, etc. In the renaissance, Bernardino Cirillo called upon composers to set aside the cantus firmus and write Masses in using similar methods as the ancient Greeks to incite piety, supplication, praise, etc. (The modes he knew were not the same as the Greeks', however!) I see Empfindsamkeit as a sort of hyper-extension of the baroque doctrine of the affections. It really uses super-affectation, with moods changing unexpectedly almost violent contrasts every other moment. Thus, confident, martial music might suddenly dissolve into a section featuring the most tender lyricism and then explode into mood of a frenetic nervousness. This is really what's meant by calling the music sensitive - quite the opposite of an overly precious manner. Unfortunately, few performers go out on a limb and play this repertoire with correctly exaggerated interpretation nowadays. For me, though, it represents virtuosity of total control. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Sat, 10/23/10, G. Crona kalei...@gmail.com wrote: From: G. Crona kalei...@gmail.com Subject: [BAROQUE-LUTE] Re: Galant definition To: baroque-lute@cs.dartmouth.edu Date: Saturday, October 23, 2010, 4:34 AM PS. At the same time I have to say that extreme cases of use of Minor - Mayor can definitely trigger feelings of sadnes and joy respectively in me, so there has to be something in the Affekt theory... G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 3:30 AM Subject: [BAROQUE-LUTE] Re: Galant definition Are you speaking of Affekt? Mattheson goes into great detail about the moods associated with each key, but I don't believe that this is really more a part of the baroque aesthetic and not typical of the gallant style. There is the famous story about how Baron was made to look foolish for believing in the then somewhat unfashionable (and un-gallant) idea of music's power to excite the passions directly. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Galant definition
More etymology than definition: Toward the end of the Pre-Galant era (a.k.a. Baroque era), dance pieces were added to the standard list of the Dance Suite movements ( Allemand, Courant, Saraband, Gigue) such as the Menuet (and Trio), the Polonaise (very important later), Anglois, Scherzo, etc. These pieces were some times/places referred to as Galanterie. They were written in the newer, lighter, more fun texture of the day. As the main dances of the suite grew unfashionable, the Galanterie became the suite meat ( and potatoes) of the now italianised Galant Era Sonata (yet without form), or tedescofied Partita, along with all of the tempo and attitude (TA) named pieces ( Allegro, Largo, Presto, Vivace, Chianti con Brie-o for the wine and cheese party, etc. bla-bla-bla. Have we killed it yet? dale - Original Message - No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.862 / Virus Database: 271.1.1/3212 - Release Date: 10/22/10 02:34:00 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Galant definition
Empfindsamkeit is one of the first and boldest expressions of self, to the point of narcissism, in artistic expression, especially Muthel, one of my favorites of the era. All of J.S. Bach's students were emboldened by their skill and knowledge,and allowed the freedom by the circumstances of the time, to do things unimaginable before. The only thing close that I can think of was the monodists in late 16c Italy, where all musical advances seem to get their root. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 11:07 AM Subject: [BAROQUE-LUTE] Re: Galant definition Yes, there is definitely something to it and it has always been part of music history. The ancient Greeks believed that the various modes could incite anger, lust, insanity, etc. In the renaissance, Bernardino Cirillo called upon composers to set aside the cantus firmus and write Masses in using similar methods as the ancient Greeks to incite piety, supplication, praise, etc. (The modes he knew were not the same as the Greeks', however!) I see Empfindsamkeit as a sort of hyper-extension of the baroque doctrine of the affections. It really uses super-affectation, with moods changing unexpectedly almost violent contrasts every other moment. Thus, confident, martial music might suddenly dissolve into a section featuring the most tender lyricism and then explode into mood of a frenetic nervousness. This is really what's meant by calling the music sensitive - quite the opposite of an overly precious manner. Unfortunately, few performers go out on a limb and play this repertoire with correctly exaggerated interpretation nowadays. For me, though, it represents virtuosity of total control. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Sat, 10/23/10, G. Crona kalei...@gmail.com wrote: From: G. Crona kalei...@gmail.com Subject: [BAROQUE-LUTE] Re: Galant definition To: baroque-lute@cs.dartmouth.edu Date: Saturday, October 23, 2010, 4:34 AM PS. At the same time I have to say that extreme cases of use of Minor - Mayor can definitely trigger feelings of sadnes and joy respectively in me, so there has to be something in the Affekt theory... G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 3:30 AM Subject: [BAROQUE-LUTE] Re: Galant definition Are you speaking of Affekt? Mattheson goes into great detail about the moods associated with each key, but I don't believe that this is really more a part of the baroque aesthetic and not typical of the gallant style. There is the famous story about how Baron was made to look foolish for believing in the then somewhat unfashionable (and un-gallant) idea of music's power to excite the passions directly. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.862 / Virus Database: 271.1.1/3212 - Release Date: 10/22/10 02:34:00
[BAROQUE-LUTE] Re: Galant definition
All self-expression pretty much starts with Froberger. RT - Original Message - From: Dale Young dyoung5...@wowway.com Empfindsamkeit is one of the first and boldest expressions of self, to the point of narcissism, in artistic expression, especially Muthel, one of my favorites of the era. All of J.S. Bach's students were emboldened by their skill and knowledge,and allowed the freedom by the circumstances of the time, to do things unimaginable before. The only thing close that I can think of was the monodists in late 16c Italy, where all musical advances seem to get their root. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 11:07 AM Subject: [BAROQUE-LUTE] Re: Galant definition Yes, there is definitely something to it and it has always been part of music history. The ancient Greeks believed that the various modes could incite anger, lust, insanity, etc. In the renaissance, Bernardino Cirillo called upon composers to set aside the cantus firmus and write Masses in using similar methods as the ancient Greeks to incite piety, supplication, praise, etc. (The modes he knew were not the same as the Greeks', however!) I see Empfindsamkeit as a sort of hyper-extension of the baroque doctrine of the affections. It really uses super-affectation, with moods changing unexpectedly almost violent contrasts every other moment. Thus, confident, martial music might suddenly dissolve into a section featuring the most tender lyricism and then explode into mood of a frenetic nervousness. This is really what's meant by calling the music sensitive - quite the opposite of an overly precious manner. Unfortunately, few performers go out on a limb and play this repertoire with correctly exaggerated interpretation nowadays. For me, though, it represents virtuosity of total control. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Sat, 10/23/10, G. Crona kalei...@gmail.com wrote: From: G. Crona kalei...@gmail.com Subject: [BAROQUE-LUTE] Re: Galant definition To: baroque-lute@cs.dartmouth.edu Date: Saturday, October 23, 2010, 4:34 AM PS. At the same time I have to say that extreme cases of use of Minor - Mayor can definitely trigger feelings of sadnes and joy respectively in me, so there has to be something in the Affekt theory... G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 3:30 AM Subject: [BAROQUE-LUTE] Re: Galant definition Are you speaking of Affekt? Mattheson goes into great detail about the moods associated with each key, but I don't believe that this is really more a part of the baroque aesthetic and not typical of the gallant style. There is the famous story about how Baron was made to look foolish for believing in the then somewhat unfashionable (and un-gallant) idea of music's power to excite the passions directly. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.862 / Virus Database: 271.1.1/3212 - Release Date: 10/22/10 02:34:00
[BAROQUE-LUTE] Re: Galant definition
Froberger? Downstairs then left. - Original Message - From: Roman Turovsky r.turov...@verizon.net To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com; Christopher Wilke chriswi...@yahoo.com; Dale Young dyoung5...@wowway.com Sent: Saturday, October 23, 2010 10:03 PM Subject: Re: [BAROQUE-LUTE] Re: Galant definition All self-expression pretty much starts with Froberger. RT - Original Message - From: Dale Young dyoung5...@wowway.com Empfindsamkeit is one of the first and boldest expressions of self, to the point of narcissism, in artistic expression, especially Muthel, one of my favorites of the era. All of J.S. Bach's students were emboldened by their skill and knowledge,and allowed the freedom by the circumstances of the time, to do things unimaginable before. The only thing close that I can think of was the monodists in late 16c Italy, where all musical advances seem to get their root. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 11:07 AM Subject: [BAROQUE-LUTE] Re: Galant definition Yes, there is definitely something to it and it has always been part of music history. The ancient Greeks believed that the various modes could incite anger, lust, insanity, etc. In the renaissance, Bernardino Cirillo called upon composers to set aside the cantus firmus and write Masses in using similar methods as the ancient Greeks to incite piety, supplication, praise, etc. (The modes he knew were not the same as the Greeks', however!) I see Empfindsamkeit as a sort of hyper-extension of the baroque doctrine of the affections. It really uses super-affectation, with moods changing unexpectedly almost violent contrasts every other moment. Thus, confident, martial music might suddenly dissolve into a section featuring the most tender lyricism and then explode into mood of a frenetic nervousness. This is really what's meant by calling the music sensitive - quite the opposite of an overly precious manner. Unfortunately, few performers go out on a limb and play this repertoire with correctly exaggerated interpretation nowadays. For me, though, it represents virtuosity of total control. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Sat, 10/23/10, G. Crona kalei...@gmail.com wrote: From: G. Crona kalei...@gmail.com Subject: [BAROQUE-LUTE] Re: Galant definition To: baroque-lute@cs.dartmouth.edu Date: Saturday, October 23, 2010, 4:34 AM PS. At the same time I have to say that extreme cases of use of Minor - Mayor can definitely trigger feelings of sadnes and joy respectively in me, so there has to be something in the Affekt theory... G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Saturday, October 23, 2010 3:30 AM Subject: [BAROQUE-LUTE] Re: Galant definition Are you speaking of Affekt? Mattheson goes into great detail about the moods associated with each key, but I don't believe that this is really more a part of the baroque aesthetic and not typical of the gallant style. There is the famous story about how Baron was made to look foolish for believing in the then somewhat unfashionable (and un-gallant) idea of music's power to excite the passions directly. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.862 / Virus Database: 271.1.1/3212 - Release Date: 10/22/10 02:34:00 No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.862 / Virus Database: 271.1.1/3215 - Release Date: 10/23/10 14:34:00
[BAROQUE-LUTE] Re: Galant definition
I believe the standard work to be: http://openlibrary.org/works/OL7827880W/German_galant_lute_music_in_the_18th_century haven't read it myself unfortunately... G. - Original Message - From: theoj89...@aol.com To: baroque-lute@cs.dartmouth.edu Sent: Friday, October 22, 2010 3:23 PM Subject: [BAROQUE-LUTE] Galant definition Could anyone help me understand the definition of 'Galant' music? Does it refer only to lute music, or to the period/style. What are its characteristics - if they can be summed up? Which composers would be considered most typical of Galant style? Thanks for helping a enthusiastic beginner further appreciate such a great literature. trj -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.862 / Virus Database: 271.1.1/3211 - Release Date: 10/21/10 20:34:00
[BAROQUE-LUTE] Re: Galant definition
Pls. correct me if I'm wrong, but doesn't Gallant also imply mood related to keys, i.e. direct influence on the listeners mood with the music, like f. ex. indian music claims to do? (The correct term eludes me, I really should read Farstads book! :) G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Friday, October 22, 2010 4:16 PM Subject: [BAROQUE-LUTE] Re: Galant definition Farstad's book is the best source for this music in reference to the lute. It includes exhaustive lists of composers, pieces and sources. More generally, there is Gjerdingen's book: http://www.amazon.com/Music-Galant-Style-Robert-Gjerdingen/dp/0195313712 I've read this book, but it is not particularly clarifying in terms of defining what gallant actually is. He describes a lot of processes, but there is little feeling that they add up in the end to a style. This is still a grey area. I don't particularly like gallant as a musical term because it is so general. In contemporary usage, it clearly had more to do with one's general habits and lifestyle than musical characteristics. Thus, Baron calls Weiss the best, most gallant composer. I think most of us would agree that Hagen is also a gallant composer. Would we really say Weiss and Hagen are writing in the same style? Would we even say that Straube's two lute sonatas and his English guittar pieces are in the same style? There is a real mixture of approaches going on from around c.1740's (and earlier) up to the classical period: high, contrapuntal baroque a la Papa Bach, a sort of easy baroque a la Scarlatti, a more overtly operatic form a la Hasse, and empfindsamer stil a la C.P.E Bach. All of these things were claimed to be gallant and one finds all of these styles happening simultaneously. I suspect that when people say gallant nowadays, they really mean the Hasse incarnation, with a florid, vocal-like line over an accompaniment that is of secondary importance, usually comprised of slow-moving harmonies and stock figurations. Lot's of triplets and Lombard rhythms! This is a tough nut to crack which has gotten too little scholarly attention. I think more people are becoming interesting in the era, but there is still a lot to be done. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Fri, 10/22/10, G. Crona kalei...@gmail.com wrote: From: G. Crona kalei...@gmail.com Subject: [BAROQUE-LUTE] Re: Galant definition To: baroque-lute@cs.dartmouth.edu Date: Friday, October 22, 2010, 9:31 AM I believe the standard work to be: http://openlibrary.org/works/OL7827880W/German_galant_lute_music_in_the_18th_century haven't read it myself unfortunately... G. - Original Message - From: theoj89...@aol.com To: baroque-lute@cs.dartmouth.edu Sent: Friday, October 22, 2010 3:23 PM Subject: [BAROQUE-LUTE] Galant definition Could anyone help me understand the definition of 'Galant' music? Does it refer only to lute music, or to the period/style. What are its characteristics - if they can be summed up? Which composers would be considered most typical of Galant style? Thanks for helping a enthusiastic beginner further appreciate such a great literature. trj To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Galant definition
Here, Let me try. Galant is the term people who lived in the period from roughly 1720 on to 1790 ( Telemann through Mozart) used to describe certain traits, attitudes, and manners, associated with the cultured nobility, according to Robert O. Gjerdingen in his book, Music in the Galant Style. They did not call their music Pre-classical,or post baroque, or modern. But they did refer to a galant style that was, in short, attempting to please the cultured, knowledgeable listener with wit, charm, and inventiveness within a somewhat mannered framework that was merely an accepted list of chord progressions passed down to composition students through their teachers,etc. Now remember, this is the period when the courts were losing their stranglehold on society with the rise of a merchant class and thus their influence on musical tastes and tennants. So there are varying modes of this style. And it crosses a couple generations and incorporates many geographical influences. And...the five kinds of music...Church, Court, Theater, Peasant (folk), and French (that's a whole different story) Music. Mix 'em all up, a little from this, a little from that, and you get galant. (except french, it's pre-mixed) Lute composers who were writing in the galant style were Falckenhagen, Hagen, Kropffganss, Durant, Martino, Daube, Straube, Baron, old Weiss wrote some pieces that would fall into that categogy too. More later Dale - Original Message - From: theoj89...@aol.com To: baroque-lute@cs.dartmouth.edu Sent: Friday, October 22, 2010 9:23 AM Subject: [BAROQUE-LUTE] Galant definition Could anyone help me understand the definition of 'Galant' music? Does it refer only to lute music, or to the period/style. What are its characteristics - if they can be summed up? Which composers would be considered most typical of Galant style? Thanks for helping a enthusiastic beginner further appreciate such a great literature. trj -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.862 / Virus Database: 271.1.1/3212 - Release Date: 10/22/10 02:34:00
[BAROQUE-LUTE] Re: Galant definition
Are you speaking of Affekt? Mattheson goes into great detail about the moods associated with each key, but I don't believe that this is really more a part of the baroque aesthetic and not typical of the gallant style. There is the famous story about how Baron was made to look foolish for believing in the then somewhat unfashionable (and un-gallant) idea of music's power to excite the passions directly. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Fri, 10/22/10, G. Crona kalei...@gmail.com wrote: From: G. Crona kalei...@gmail.com Subject: [BAROQUE-LUTE] Re: Galant definition To: baroque-lute@cs.dartmouth.edu Date: Friday, October 22, 2010, 10:27 AM Pls. correct me if I'm wrong, but doesn't Gallant also imply mood related to keys, i.e. direct influence on the listeners mood with the music, like f. ex. indian music claims to do? (The correct term eludes me, I really should read Farstads book! :) G. - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: baroque-lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com Sent: Friday, October 22, 2010 4:16 PM Subject: [BAROQUE-LUTE] Re: Galant definition Farstad's book is the best source for this music in reference to the lute. It includes exhaustive lists of composers, pieces and sources. More generally, there is Gjerdingen's book: http://www.amazon.com/Music-Galant-Style-Robert-Gjerdingen/dp/0195313712 I've read this book, but it is not particularly clarifying in terms of defining what gallant actually is. He describes a lot of processes, but there is little feeling that they add up in the end to a style. This is still a grey area. I don't particularly like gallant as a musical term because it is so general. In contemporary usage, it clearly had more to do with one's general habits and lifestyle than musical characteristics. Thus, Baron calls Weiss the best, most gallant composer. I think most of us would agree that Hagen is also a gallant composer. Would we really say Weiss and Hagen are writing in the same style? Would we even say that Straube's two lute sonatas and his English guittar pieces are in the same style? There is a real mixture of approaches going on from around c.1740's (and earlier) up to the classical period: high, contrapuntal baroque a la Papa Bach, a sort of easy baroque a la Scarlatti, a more overtly operatic form a la Hasse, and empfindsamer stil a la C.P.E Bach. All of these things were claimed to be gallant and one finds all of these styles happening simultaneously. I suspect that when people say gallant nowadays, they really mean the Hasse incarnation, with a florid, vocal-like line over an accompaniment that is of secondary importance, usually comprised of slow-moving harmonies and stock figurations. Lot's of triplets and Lombard rhythms! This is a tough nut to crack which has gotten too little scholarly attention. I think more people are becoming interesting in the era, but there is still a lot to be done. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Fri, 10/22/10, G. Crona kalei...@gmail.com wrote: From: G. Crona kalei...@gmail.com Subject: [BAROQUE-LUTE] Re: Galant definition To: baroque-lute@cs.dartmouth.edu Date: Friday, October 22, 2010, 9:31 AM I believe the standard work to be: http://openlibrary.org/works/OL7827880W/German_galant_lute_music_in_the_18th_century haven't read it myself unfortunately... G. - Original Message - From: theoj89...@aol.com To: baroque-lute@cs.dartmouth.edu Sent: Friday, October 22, 2010 3:23 PM Subject: [BAROQUE-LUTE] Galant definition Could anyone help me understand the definition of 'Galant' music? Does it refer only to lute music, or to the period/style. What are its characteristics - if they can be summed up? Which composers would be considered most typical of Galant style? Thanks for helping a enthusiastic beginner further appreciate such a great literature. trj To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
