| concertos with ad lib winds ⟨User:Tim.willis1685⟩ |
[#8127] |
Dear Tim: Thanks for all the uploads! When we get a concerto that has ad lib. designated for all non-string parts, we tag for the version with (e.g. vn orch) and without (e.g. vn str). I added the "vn str" tag to the Schleger violin concerto, but you may want to remember this in case you come across it in the future. Thanks, Becky
| Posted at 06:50, 3 September 2014 by Steltz (administrator) |
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OK. I'll add "ad lib." to the instrumentation field when I come across it to help the taggers.
I had a quick look at the violin, strings category. Here are some pieces that should be vn str bc.
http://imslp.org/wiki/Violin_Concerto_in_G_major,_Bre9_(Brescianello,_Giuseppe_Antonio)
http://imslp.org/wiki/Violin_Concerto,_TWV_51:C3_(Telemann,_Georg_Philipp)
http://imslp.org/wiki/12_Concerti_a_cinque,_Op.9_(Albinoni,_Tomaso) ob str bc for this one as well.
What is the official view concerning the use of continuo in classical works? I suppose it's all a bit controversial! I don't really have an opinion, but I thought I'd check because I've been throwing in a few "continuo"s to these late pieces just out of habit. In these publications just "Bass" is given. It's fairly standard now to perform late classical works with fortepiano or harpsichord. Interestingly, a few figures have been found in some of Beethoven's Pianoconcertos, which would indicate that he improvised as a "continuo" player in the ritornelli.
| Posted at 07:46, 3 September 2014 by Tim.willis1685 (administrator) |
| Continuo in orchestra:
When it is a string orchestra with continuo, we put "str bc". However, with the larger orchestra with winds/brass/etc., any keyboard at all is considered part of the orchestra, so for instance the Saint-Saens orchestral works with a piano in the orchestra do not have the piano tagged separately, it is all just "orch".
This causes a small anomaly because there are obviously baroque works with a fuller orchestra with winds that also have continuo. So these symphonies with ad lib winds will be "str bc ; orch".
Continuo in other pieces:
We are supposed to go strictly by title or what's in the score, although it's not always possible to tell exactly, especially when the part says "basso" and there is no figuring. I will always check with Grove first, because at least that is a scholarly source.
We can't just throw stuff in, so there has to be a good reason (and sometimes there is disagreement over it), and checking with a scholarly source at least gives a good reason for choosing one over another. I usually will put something in the comments field that will make it more obvious to users why something is tagged a certain way. For instance, look at the Brescianello now; I've tagged it for both options, but I've explained why and cited Grove.
| Posted at 14:24, 7 September 2014 by Steltz (administrator) |
| That all makes sense, although I find Grove's remark about cello/harpsichord in Bre9 puzzling. I would always assume a continuo instrument present in baroque works unless it is specifically indicated otherwise, not the other way around. The lack of a part designated for cembalo doesn't mean that there wasn't one.
I was talking more about pieces (like the Haydn Fl Quartets below) from the classical period and whether continuo is recognised as an option. After asking that question I checked a few pieces and found that both options (with or without bc) had been tagged, so my question is really irrelevant. Sorry!
http://imslp.org/wiki/6_Flute_Quartets,_Op.5_(Haydn,_Joseph) This does have figures in the "basso" part, which would mean that a chordal instrument could at least be considered. Although here, that has been interpreted as "cello".
| Posted at 16:03, 7 September 2014 by Tim.willis1685 (administrator) |
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