Howard Schott wrote about ties in his ed. of Froberger, vol.1 p. viii:

""In editing the works found in Froberger's own autographs we have in all
but rare cases reproduced ties literally.  A few indispensable editorial
ties are distinguished as such by a small vertical stroke.  (In accordance
with modern practice, a number of tied notes within the bar have been
replaced by the corresponding single note value.)  However, the player
should be aware that supplying additional ties may often be desirable, in
the suites above all, when playing on resonant instruments.  For instance,
repeated notes within a chord in the alto or tenor parts may be acceptable,
indeed necessary to sustain the harmony on the clavichord, but they might
have to be suppressed in part when the same piece is played on a large
harpsichord of great sustaining power.""

Even before he wrote this in 1977, I had been made aware of the fact that
adding ties was an option for the player.  I have not compared sources, but
my impression is that 17th-century copyists were as inventive with ties as
with ornament signs.  Maybe somebody knows of 17th-century sources that tell
how keyboard players reacted to written notation?  And there's been a lot of
research on Froberger since Schott published his ed.  I'm sure that others
on this list know more about that than I.

Regards,
Ðale

----- Original Message -----
From: "David Pickett" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, November 01, 2004 3:35 AM
Subject: Froberger's Blancrocher tombeau again


> I have returned to Froberger's tombeau for M. Blancrocher.  I find this is
> to be an extraordinary piece, and quite haunting.  Ideal for Hallowe'en.
>
> What I also find is that every time I return to it there seem to be more
> ties missing from the original.
>
> I say the original, though I have never seen it or a facsimile.  But there
> is an agreement between the various editions.  Do others find that there
> are ties missing?  If so, what would be the explanation for this?
>
> david