Karen wrote:
<<Would that Herr Bach had been so kind, when writing that fiendish run in the
"Esurientes" from his MAGNIFICAT, or, indeed, Mr. Handel when writing that
extended passage (a' pia-a-a-a-a-a-a-a-a-a-a-anti miei) in "Cara sposa". Or,
indeed, Herr Mozart, when he wrote "Parto, parto" in LA CLEMENZA DI TITO. My
former voice teacher suggested that the thing the latter two of these pieces
had in common was that they were composed to be sung by castrati
But that still doesn't explain Herr Bach's expectations, because I don't
believe he wrote for castrati. >>
I think in Bach, long passages and breathing can be looked at as a violinist
(for example) looks at phrasing. Bach may not have written in phrasings with
rests or phrase marks, but he expected the musician to put them in according to
his style (or coaching). So the singer (or violinist) should analyze the
passage, decide how the phrases work, and articulate accordingly, with breaths
or with breaks without breathing.
Peggy
---
Margaret Harrison, Alexandria, Virginia
"Music for a While Shall All Your Cares Beguile"
mailto:peggyh@i...
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