> Dennis wrote: Claudio di Veroli wrote (elsewhere):
"Baroque German performers played with inégales the French dances: the
evidence is scarce but very convincing, and AFAIK this fact has been
accepted by current musicology for the last two decades. The result in
performance is IMHO excellent."
It would be interesting to know more about this "very convincing
evidence", and how it applies to Bach.
Also, "current musicology" does not seem to accept this fact. The
abstract of a very recent article in Early Music even states the contrary:
Notes inégales: a definitive new parameter
Beverly Jerold
"Foreign sources which have been thought to prescribe the French system
do not satisfy the parameters for /notes inégales/. ... Thus French
inequality does not apply elsewhere [i.e. outside of France], except in
the rare instance specified by the composer."
Thanks Dennis for mentioning this paper, which I will try to find and read.
Let me just list a few opinions of mine:
1) One sentence in one paper fails short of denying current musicology.
2) Most French composers did not "specify inégales": we know they were in
use in their milieus from other contemporary sources.
3) Of course, J.S. Bach may have been exceptionally opposed to inégales:
however, there is no such evidence. Therefore, I prefer to follow the
customs in his environment, which did include orchestras with a significant
number of "imported" French musicians.
4) About 20 years ago, a leading German harpsichordist and organist, in a
workshop after a recital, was asked (not by me but I was there) why he never
used inégales in JSBach. He candidly answered that he did not because Gustav
Leonhardt did not either...
5) For what my own research is worth, I have researched this matter
personally for a long time, and I have found find the evidence convincing
enough to use inégales in J.S. Bach (only in the truly French dances, which
are less than half those in the composer's Suites) in my public performances
for more than two decades.
6) I have listed my analysis and conclusions in detail in several pages in a
favourably-reviewed book of mine: I apologise if I do not feel like copying
those pages here.
7) Over the decades I have also asked the personal opinion of some world
authorities and have failed to find any convincing denial about this.
Confirmations I had, for example personally from Christopher Hogwood, who
conducted recordings of some French dances by Handel with very audible
inégales.
8) As for current musicology, let me also say that my conclusions on JSBach
and inégales fully agree with the main modern treatise on JSB and Dances:
Little, Meredith and Jenne, Natalie. Dance and the Music of J. S. Bach.
Expanded Edition. Indiana University Press, Bloomington, Indiana (USA) 2001.
9) This is my "topence worth" about the matter. IMHO this topic is way too
complex for any detailed public discussion in lists, forums and blogs.
My very best wishes,
Claudio
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