On 08.09.2007 John Howell wrote:
Yes, and every time this difference among high and low Kammerton and high and
low Chorton comes up I have to stop and relearn it. I doubt that they refer to
specific frequencies, because I'm not sure the technology existed to measure
specific frequencies.
At 11:59 AM -0400 9/8/07, David W. Fenton wrote:
And let me add that in Germany different Kammer- and Chorton pitches
were not at all unusual, lest anyone get the impression that this is
some kind of oddity of Leipzig and its environs.
Yes, and every time this difference among high and low
At 8:37 PM +0200 9/8/07, Daniel Wolf wrote:
I have always wondered about the case of the F
trumpet in the second Brandenburg -- could this
have been written for a situation in which the
strings and ww. played at a Kammerton and the
trumpeter used a high pitched but nominally Eb
or even D
On 06.09.2007 John Howell wrote:
Both the Kings College and the Wienerknaben choirs of boys and men were closer to 20
singers each, and I admit that's what I have thought of as the Bach sound.
Having studied at King's I would argue that King's sounds very different
from what the Thomas
On 06.09.2007 John Howell wrote:
Modern performances with one singer on a part do not use young boys whose voices have not
changed, or young university men whose voices have not been thoroughly trained. At least
that is true of every example I have heard. In fact, every example I've heard
Yes, I have heard a lot of Harnoncourt's Telefunken Bach cantata
recordings, and I rank them among the most abysmal sounds ever committed
to disc.
On 9/5/07, John Howell [EMAIL PROTECTED] wrote:
Modern performances with one singer on a part do not use young boys
whose voices have not changed,
At 12:18 AM -0400 9/6/07, Kim Patrick Clow wrote:
On 9/5/07, John Howell [EMAIL PROTECTED] wrote:
Modern performances with one singer on a part do not use young boys
whose voices have not changed, or young university men whose voices
have not been thoroughly trained. At least that is true
As long as we are bouncing around among the theoretical, the
practical, the evidence, and the interpretation of evidence, may I
mention a matter that everyone seems to have been overlooking amid
all the rhetoric (and yes, including my own!).
Modern performances with one singer on a part do
On 9/5/07, John Howell [EMAIL PROTECTED] wrote:
Modern performances with one singer on a part do not use young boys
whose voices have not changed, or young university men whose voices
have not been thoroughly trained. At least that is true of every
example I have heard.
Have you heard the
On 9/4/07, John Howell [EMAIL PROTECTED] wrote:
I scanned 3 pages of Parrott's book:
http://web.christophgraupner.info:81/bach/
He shows some interesting stats on other composers and the parts ratio
to singers/instrumentalists. On page 3, there is a foot note where
Graupner and Telemann are
On 04.09.2007 John Howell wrote:
If we picture him as taking 3 months to rehearse for a Fall Concert, that simply is the wrong picture. Remember that in his first 2 years at Leipzig he turned out a new cantata EVERY SINGLE WEEK! Those boys and those musicians could sightread, folks. No
At 11:38 PM -0400 9/4/07, Aaron Rabushka wrote:
OK--without getting into the minutiae of this or that intonation system
(something I am ill-equipped to do), I've often heard that Bach had to fight
to get the one he wanted, that would sound good in any key.
No need to get into the details.
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