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HPSCHD-L  November 2004

HPSCHD-L November 2004

Subject:

Re: Froberger's Blancrocher etc now: ties

From:

Dale Carr <[log in to unmask]>

Reply-To:

Harpsichords and Related Topics <[log in to unmask]>

Date:

Wed, 3 Nov 2004 11:03:25 +0100

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (112 lines)

See interpolated comments below...

----- Original Message -----
From: "David Pickett" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, November 02, 2004 9:43 PM
Subject: Re: Froberger's Blancrocher etc now: ties


> At 14:07 02-11-04, Michael J. Smith wrote:
>
>  >Speaking of the Froberger Blancheroche tombeau: does anybody else
>  >have a problem with some of the reaches? E.g. measure 29.
>
> I my copies it is m.30.  Yes, it is tricky, but doable -- the one
advantage
> of my large hands!

For me the most difficult reach is in m. 30 [Schott's ed. for Pupitre] w/ an
8ve g in the l.h., then a 13th from middle c up to f in the r.h.  Since the
bottom g is tied from the beginning of the bar, it seems reasonable to leave
it in order to take the alto w/ the l.h.  More fudging may be
required/desired, depending on individual circumstances.

>   And what's
>  >with the inconsistent treatment of those octave G's in the left hand in
that
>  >whole last section (meas. 28 ff)?  Looks like it starts out as a little
> jokelet
>  >-- the footsteps of the walk home and up the stairs before the fatal
fall --
>  >but it isn't carried through. Unless we're just meant to alternate on-
and
>  >offbeat bass and tenor G's right throughout and he thought it would be
>  >pedantic to spell it out after the pattern has been given in 28.

Not clear what is inconsistent : between various eds., or between measures
in a single ed.?

The alternation is suggested by editorially added ties in Schott's ed.  The
old DTOe ed. by Guido Adler has no ties here [m.31ff];  this is how I play
it.  Sounds like tolling bells to me, even w/o alternation ; but who can
say?

> I alternate, and making it sound like the tolling of bells.  I have no
idea
> whether this is what Froberger intended, of course!
>
>  >
>  >My edition also has little editorial a-flats in meas. 31 and 33. What's
the
>  >justification for those?

No idea.  They're not in Schott's ed., nor in Adler's.  Adler does add [?] 2
poignant d-flats in m.34 ; these are not found in Schott's ed.  They echo
[?] the d-flats in m.9-10, found in both eds.

> No idea.  Which edition is that?
>
> david

David wrote further :

"""Interesting that unlike most of Froberger's works, this piece is not
appropriate for the usual C/E short octave, which has no E-flat.  I
conclude that Froberger wrote it while he was still in Paris, for a French
instrument with extended bass."""

This piece has no low e-flat.  There are notes below C, as in several other
pieces by Froberger.  It seems likely, since Blancheroche died in Nov.1652
when Froberger was in Paris, that the piece was composed in Paris.  [See
Rasch's summary of new biographical data on Froberger in "The Keyboard in
Baroque Europe / ed. by Christopher Hogwood"].  David's conclusion, based on
these data, that Froberger wrote it for a particular type of instrument
relies on an assumption of a certain relationship between composition,
performance, and instrument[s], the value of which has yet to be
demonstrated.

Michael wrote further :

"""I guess if we want to treat the piece programmatically,
we'd want to match it up to the events narrated in
Froberger's little Latin note on the piece. It's very
circumstantial about the events leading up to the death --
after dinner(*) they "walked it off" [deambulasset] in the royal
garden and then B. went home and, having something to do,
[aliquid facturus] went upstairs, and fell from thence.

But then. F goes on into some detail about who carried B. to bed,
and about the medical treatment, and about his deathbed
conversation. The note concludes "ultimum spiritum coepit trahere,
animam exhalare" -- went to take his last breath, and exhaled his
soul. Maybe that's what the last scale is.

(*) Who's this Domina de St Thomas?"""

-- If indeed we wish to treat this piece programmatically - which, given the
supplied "program" in the only source, is very tempting - and if we hear the
l.h. 8ve g passage in m. 29ff as bells, then we can't reasonably say that
the final descending scale is the fall down the stairs.

-- Rasch corrects the marginal note in the source in several small
particulars, e.g. by omitting the word "animam" quoted above.  He writes:
"The final seven words or so are difficult to read so that there can be no
certainty about the transcription.  I could not locate in the manuscript
text the word _animam_ given by Adler in his transcription.  Whatever the
correct transcription, the meaning is clear."

-- Rasch gives no info about the identity of Domina de St Thomas.

Regards,
Dale

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