Performance practice of recitativo secco in the first half of the 18th century
Identifieur interne : 000417 ( Istex/Corpus ); précédent : 000416; suivant : 000418Performance practice of recitativo secco in the first half of the 18th century
Auteurs : Dieter GutknechtSource :
- Early Music [ 0306-1078 ] ; 2005-08.
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Abstract
Since the 1970s continuo performance of secco recitative has been intensively discussed in the historically oriented field of performance practice. The trigger was the idea, probably stemming from Winton Dean, of having cadences played exactly as notated. In the Alten Handel Ausgabe, Friedrich Chrysander had notated the dominant– tonic conclusion in the recitatives as, in principle, after the beat, that is, after the singer's last note. In practice, however, performance with the singer creates the problem that in almost all endings executed with an appoggiatura a dissonance of a semitone arises. This article examines original notation in score as well as contemporary theoretical commentaries in order to determine how this might be avoided and how a more flexible continuo arrangement might be achieved.
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DOI: 10.1093/em/cah105
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His main areas of research are performance practice, musical aesthetics, music and fine art/sculpture and the work of Karlheinz Stockhausen: he has published widely in all these fields. As a conductor he has appeared at the Halle Handel Festival, La Fenice in Venice, Palermo, Monreale and Rome</italic>. <ext-link xlink:href="dieter.gutknecht@uni-koeln.de" ext-link-type="email">dieter.gutknecht@uni-koeln.de</ext-link></aff></contrib-group><pub-date pub-type="ppub"><month>August</month><year>2005</year></pub-date><volume>33</volume><issue>3</issue><fpage>473</fpage><lpage>494</lpage><permissions><copyright-statement><italic>Early Music</italic>, Vol. <sc>xxxiii</sc>, No.3 © The Author 2005. Published by Oxford University Press. 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