Subject: | |
From: | |
Reply To: | |
Date: | Tue, 26 Jan 1993 17:31:56 CST |
Content-Type: | text/plain |
Parts/Attachments: |
|
|
On Mon, 25 Jan 1993 23:12:25 EST AJONTKO said:
>
>**** REGISTRATION
> . . .
>A case in point is the current fad of Bach playing. Put on the plenum, play
>the prelude, take off the mixture, play the fugue. And, besides this, one
>must play with what I call 'Chinese' phrasing (chop-chop...). This does
>a service to neither the music nor the listener, as it ignores accentuation
>by means of stop change. Why do you think Bach had people standing on either
>side of the keydesk? They were his 'pistons'. And supervising a pair of
>registrants is a lot more work than snaking a finger or toe over to push
>a little button.
>
This is very interesting. Where can information about Bach having a person
standing on either side be found? Please don't misunderstand. I'm not
intending to imply in any way that I don't believe it, merely that I don't
recall having read about this aspect of Bach's performance practice anywhere
at least not recently, and I've been reading the AGO magazine and other
Bach sources for years. Can you give us a good cite? Thanks much,
Will Stuivenga <VSGA1001@SMUVM1> or <[log in to unmask]>
Database Services Reference Librarian, Fondren Library
Southern Methodist University, Dallas TX 75275
(214) 768-3666 fax (214) 768-1842
And on Sundays, (as well as various other assorted times weekly)
Organist/Choirmaster, First United LUTHERAN [yes, really 8-) ] Church
Dallas, TX where I play a 1975 Karl Wilhelm mechanical action instrument
|
|
|