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Subject:
From:
Andrew Bernard <[log in to unmask]>
Reply To:
Harpsichords and Related Topics <[log in to unmask]>
Date:
Mon, 30 May 2016 22:14:18 -0400
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Hello Andrew,

Thanks for your highly illuminating reply. Of course we (I) tend to look at
things though modern filters and lenses, and now I realise Germany as such
never existed in 18c. I was unaware of the cachet the French language had
at the time, similar to the aristocratic preference for French in 19c
Russian noble circles.

As a matter of coincidence, I have been attending to the vairous disputes
about who composed the Bach Solo Cello Suites. Our Professor Jarvis over
her in Australia believes there is strong evidence for the composer to have
been Anna Magdalena. Part of the evidence is the title page to the copy of
the Violin Solos and Cello Suites by Schwanberg, stating ‘ecrite par Madame
Bachen’. There are academic fisticuffs and much blood spilt over whether
‘ecrite’ means copied or composed, and this particular specific piece of
evidence is not settled in my view. But what has had me puzzled just this
week is why a German would write a cover page for Bach works in French. So
your answer is timely indeed.

And still, why were German language speaking [I hesitate to call them
German now!] composers then not using ‘doux’ and ‘fort’ for dynamics?

Andrew

On 31 May 2016 at 2:20:04 AM, Andrew Appel ([log in to unmask]) wrote:

Hi Andrew

Couple of things. The nature of nationalism in the 17 and 18 century is
very different from 19 century nationalims.

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