> Aapo wrote: Claudio wrote: Harpsichord dynamics via articulation has been
taught for generations in MODERN times . ...
> So I see no reason to re-interpret what CPE Bach wrote.
> Well, if I'm the only one denying the effect, then be it so !
Thank you Aapo. Of course, if I play staccato but with a louder touch,
things may be different. However, rather than engaging in discussing a
matter that (as we all agree) was not found significant by Baroque
musicians, I believe that a few clarifications are in order:
1. In earlier posts what I said is that, IMHO, if we are already playing
"piano" in the upper 8', playing more detached sounds softer. You and Matteo
are free to disagree, of course.
2. However, CPE Bach definitely agreed with me, with no re-interpretation
whatsoever. This is what he wrote (and I have quoted this before): "Some
resort to a highly detached touch in order to express a piano ... It is
better to reduce the volume by using the right hand less frequently ...".
3. Much more importantly, this discussion actually originated in a previous
post of mine where I said that, once we were playing on the upper manual, a
staccato was just a possible way to achieve on a harpsichord a "pianissimo"
that actually was most likely to be meant for a clavichord.
4. Please also note that I have written extensively on articulation,
registration and all sorts of expressive devices for the harpsichord, and I
do not recall having ever recommended articulation as a means to achieve
different dynamics.
5. With the above clarifications, perhaps we can agree to disagree about
articulation and dynamics, and return to the original topic of this thread,
which was to find out pre-1750 music with loudness marking at more than two
levels, as possible evidence suggesting that the composer preferred a
clavichord instead of the harpsichord.
Thanks for your very interesting remarks.
Best
CDV
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