Klarinet Archive - Posting 000614.txt from 2002/09

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] My attempt to formalize my unstructured ideas
Date: Sat, 28 Sep 2002 16:06:11 -0400

On Sat, 28 Sep 2002 15:24:49 -0400, bhausmann1@-----.net said:

> At 08:40 AM 9/28/2002 -0700, Dan Leeson wrote:
>
> > Paul Harris wrote:
> >
> > > it has been performance practice through out many centuries to
> > > perform the music with what ever band or instruments available at
> > > the time and to not be too concerned about whether or not a
> > > composer really intended for this or that instrument to be used.
> >
> > From where did this bit of incorrect information derive? There is
> > not the slightest evidence that suggests (for example) that in the
> > classic and early romantic periods, the performers used anything but
> > the instruments specified. Now if you have formal information to
> > the contrary, and are prepared to cite that source, I'd like to see
> > it. In the absence of such reliable information, this argument you
> > pose is worthless.
>
> Actually, Paul's information can be backed up. According to Adam
> Carse, a well-known musicologist and expert on orchestration, in the
> 16th century, music was often written in parts to be played by
> whatever resources were available. In his "The History of
> Orchestration" he cites, among other examples, "...the dances by
> Teilman Susato...printed at Antwerp in 1551. They are arranged in
> four parts and are described on the title page as being 'suitable for
> performance on all musical instruments.'

But, clearly, that argument doesn't wash. Music that is written to be
played 'on all musical instruments' isn't music that is written for
specific instruments.

> Viols or any group of wind instruments would no doubt easily negotiate
> these complacently moving parts of small compass, distinguished from
> one another simply as Discant, Contratenor, Tenor, and Bass." Later,
> he cites Halevy as stating that "Lulli (1633-87) wrote only the vocal
> and bass parts of his operas, leaving the orchestral parts to be
> filled in by his pupils, Lalouette and Colasse." Apparently he was
> not too concerned about what instruments would be used.

Or, that Lulli had confidence in Lalouette and Colasse's ability to
produce a scoring.

Not that he had confidence in *you*.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
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