Singing i n Style
BAROQUE
I As the essence of re-creating
vocal literature of the Renaissance
is in the subordination of performer
to medium, in the Baroque period
it will b e seen to b e in the exploita-
tion by performer of medium. H o w -
ever, the steady progress of music
resists specific boundary lines, and
the later style is demonstrably a
logical continuation of earlier
trends. T o study and understand
this evolutionary process is to lay
the requisite foundation for a bona
fide performance of Baroque music.
The very nature of teaching prac-
tices w h e n music was an integral
part of formal education, the pro-
liferating appearances of manu-
script "how-to" treatises, these and
other factors c o m b i n e d for the
transmission and codification of
Renaissance practices. A m o n g the
results were international accept-
ance of a sophisticated harmonic
language; wider dissemination, with
a n e w emphasis, of polychoral tech-
niques d e v e l o p e d b y the Venetians;
and from Late Madrigal C o m e d y
a practice of relentlessly expressive
text-painting—plus the suggestion
of a fundamental bass line w h i c h
was to color musical composition
for the next three hundred years.
Each development was, of course,
subject to provincial modifications
as it crossed geographic borders
JUNE-JULY, NINETEEN SIXTY-SIX
by Edward F. Menerth, Jr.
and b e c a m e exposed to varying na-
tional atmospheres. In Italy, p a p a c y
and Church continued to decline,
gradually relaxing their authori-
tarian grip on men's lives and arts.
France s u c c u m b e d to the strength-
ening of a "divine right" monarchy
whose insulating effect on creativ-
ity has not completely disappeared
to this day. Tripartite Germany
roiled under the disruptive Thirty
Years' War, while across the Chan-
nel Henry VIII's emotional break
with an inflexible Church shaped
itself into the delicate c o m p r o m i s e
of Catholic Anglicanism. These and
other parochial concerns all con-
tributed to the incipient de-interna-
tionalization of music, a process
destined to reach its peak only in
the hyper-nationalism of the late
nineteenth century, but w h i c h even
as early as the Baroque has a meas-
urable effect on performance.
In that same transitional period
another significant alteration in per-
formance style is under weigh,
pointing from the representation of
inner ideals to a presentation of ex-
pressive emotion. Intensity of feel-
ing, directly influenced b y the older
chromaticists, is b e c o m i n g an end
in itself. Pathos and passion, o n c e
considered only proper in the serv-
ice of the Church or else as very
private domain, are n o w heightened
b y dissonance and emphasized b y
the punctuation of steadily re-
peated notes. There is a n e w free-
d o m of writing, signified b y less
patterned rhythms and more c o m -
plex m e l o d i c lines, and, a b o v e all,
an insistent pictorialism: the singer
needs constantly to b e aware of a
literary d e p e n d e n c y .
W i t h the " m o n o d i c revolution"
and the gradual classification of
tonal relationships, composers revel
in a greater number of choices o p e n
to their selection for setting w o r d s
to music. This expanding language
gives birth, diversely, to declama-
tory-type parlando lines and to
recitatives dependent u p o n a non-
declamatory legato for their effect.
Even the choral recitative in M o n t e -
verdi is specifically aimed at in-
telligibility of text, striking evidence
of the slow decline of pure poly-
p h o n y and the transformation of the
madrigal into the cantata. Since the
function of the basso continuo is
fundamental to these changes, it
plays a fundamental role in per-
formance.
One can, from the a b o v e devel-
opments and innovations, d e d u c e
four major hallmarks of Baroque
vocal literature w h i c h affect its per-
formance. T h e first is contrast; the
second is the tension resulting from
contrast; third is a forward-moving,
73
propulsive vigor; and fourth a pre-
dilection for large masses of sound.
These characteristics can b e rea-
lized in performance only after an
examination of the forces that
shaped them.
• An analogy b e t w e e n this most
carefully-constructed music and
architecture itself provides the first
of these: the m o d e r n thesis that
form follows function. M o r e than
in the Renaissance, the use for
w h i c h music is intended imposes
form, and, therefore, performance
style, on vocal literature during the
g r o w t h of the Baroque. A perma-
nent line is b e i n g drawn b e t w e e n
strictly liturgical function and pure
audience entertainment as cathe-
dral, concert hall, salon, and recep-
tion c h a m b e r all b e c o m e m o r e
specialized in their needs and de-
mands. O n e of the earliest c o m -
posers o f the period, Monteverdi,
wrote for the court or the theatre or
h o m e ; and Bach, its culmination,
for church or o u t d o o r concert or
coffee house or the Collegium Mu-
sicum or, also, the h o m e .
W h i l e these c o m p o s e r s did not
allow such distinctions to affect the
qualitative values of their works,
performers are o b l i g e d to discover
that there are, indeed, distinctions
in basic attitude. T h e aim—a sec-
ondary aspect of the presentational
idiom i n d u l g e d in during this time
—is to m o v e or entrance the audi-
ence in a c c o r d with the spirit of
occasion and location. Despite the
fact that from this milieu the great-
est single b o d y of living music is
for the Church, the performer's first
allegiance, as was the composer's,
must b e to the c o m m u n i c a t i o n of
emotional truths.
The Mass, with its prescribed
text, continued h e w i n g to Pales-
trina's p o l y p h o n i c lines although
monody-derived basso continuo,
stile concertato, and tonal drift w e r e
gradually creeping in. T h e n e w e r
forms of opera and oratorio are
more characteristic of the Baroque,
and are also likely to b e those most
generally encountered b y the per-
former. Opera, evolving from the
Florentine Camarata attempts to
emulate Greek drama, c a m e under
the twin influences of the Neapoli-
tan school and Italian m e l o d i c
genius. B y the end of the B a r o q u e
period, it had b e c o m e a virtuosic
74
singer's delight, to the point of u p
to sixty arias per opera. As if to
balance, the oratorio, although
stylistically similar, granted dra-
matic, narrative, and meditative
chores specifically to the ensemble.
Cantatas, w h i c h w e r e truncated
oratories in b o t h sacred and secular
dress, w e r e m o r e equitable.
This article is the second in a series
on the subject of vocal interpretation
in which stylistic features of
periods will be studied from the his-
torical viewpoint w i t h careful consid-
eration for the singer's problems. The
first article in the series, "Singing in
Style: Renaissance," a p p e a r e d
April-May Ί966 issue. The author
currently associated with the
toral program in fine arts at
University, Athens, Ohio. The
will be continued in the September-
October issue.
• T h e s e c o n d major force on the
performance of B a r o q u e music is
the geographic/nationalistic one, in
w h i c h the Italian states are d o m i -
nant w h e n the p e r i o d begins. Pos-
sessed of a non-inflected language,
the Italians i n d u l g e d in harmonic
and chromatic subtleties of texture,
laying the g r o u n d w o r k on w h i c h a
technique c o m b i n i n g v o c a l virtu-
osity with great expressive p o w e r
was built. It is instructive for the
performer to examine, c h r o n o -
logically, h o w this c a m e about, b e -
ginning with Peri's Euridice
( 1 6 0 0 ) , in w h i c h " m e l o d y " ( a n d
the singer) is enslaved to the natu-
ral inflections, rhythms, and accents
of the p o e m . T h e challenge is ver-
bal, not vocal.
Monteverdi's Orfeo, although
barely seven years later, represents
a tremendous stride forward in lib-
erating the solo v o i c e for freedom
to express the dramatic p o w e r in-
herent in the libretto. Deep-
breathed, s w e e p i n g phrases allow a
rhythmic flexibility w h i c h d e m o n -
strates an urge toward heightened
directness and naturalness culmi-
nating in nineteenth-century ver-
ismo. Dramatic Madrigal C o m e d y
s c h o o l e d M o n t e v e r d i in the means
for passionate expression o f a text's
emotional meaning, and the per-
former of his works should seek the
surprising modulations, striking
discords, and sinuous thirds that
reveal the composer's refined taste
for word-painting.
T h e synthesis and crystallization
of the Neapolitan opera tradition
is found in the fluent and graceful
style of Alessandro Scarlatti. H e r e
the vocal solo assumes utmost im-
portance. Virtually all k n o w n orna-
ments and vocalises, for example,
are concentrated in the famous aria
"Canto di Rossignuolo" from Le
Nezze col Nemico ( o n e chain of
trills mounts, without a break, for
a solid o c t a v e ) . E v e n Venetian
all opera, despite a tradition of great
contrasted masses, fell victim to the
bravura aria, liberally spiked with
elaborate cadenzas. This is opera
in the seria, w h e r e the aria is used for
is self-indulgent reflection on the feel-
doc-
ings, leaving the recitatives to carry
Ohio
series
the drama itself forward. ( B y con-
trast, in opera buffa a rapid par-
lando is carefully d e v e l o p e d for
c o m i c effect.)
T o perform this music, great em-
"lasis must b e p l a c e d on the
smooth flow of elegant tone w h i c h
is -melody—cantare—a vocal line
e m b o d y i n g b o t h the passion and
clarity of expressive feeling. Judi-
cious alteration of t e m p o to m e e t
this n e e d is often justifiable, so long
as rhythmic vitality is maintained.
Supporting this kind of virtuosity
calls for an extremely flexible vocal
instrument, c o u p l e d with an in-
stinctive flair for presentational
techniques. Phrasing around basic
emotional ideas will aid in p r o d u c -
ing the necessary unlabored feeling
for elegance and grace.
M o r e r u g g e d and isolated geo-
graphically, the northern Teutons
spoke an inflected language c o n -
genial to a m o r e vigorously angular
m e l o d i c line. Early chorales w e r e
built in simple, chordal, accented
metrical rhythms with a gravely
d e v o u t expressive quality. T h e y call
for an enormous range of color on
the part of the performer. T h e in-
nate predisposition on the part of
these p e o p l e s to introspection and
d e e p thought exacts especial per-
formance fervor, as even the ora-
torio retained a largely liturgical
function. Sehutz, although cer-
tainly influenced b y Venetian mag-
nificance, color, and an inclination
toward strong text-painting, was in-
finitely m o r e intimate and inward-
looking than s o m e o n e like Gabrieli.
He, therefore, d e v e l o p e d what
might b e called a semi-dramatic
MUSIC EDUCATORS JOURNAL
 style dependent for expressive
effect on the interpretation of the
essential text. The twin colossi of
Handel and Bach are treated, in-
dividually, below.
Proudly insular France rather
consciously expressed itself with a
"reserved" style in direct contrast
to the more violent Italian dramatic
idiom. It is very apt to be in the
pastoral vein, somewhat pompous,
and even in the airs de cour the
emphasis is more likely to be on
the music than on specious dra-
You may not be able matic content. The influence of six-
to keep up with your horn teenth-century vers mesure is ap-
after you use it. parent in the contributions of Lully
Our famous Holton Valve Oil makes t h e
toward making the recitative more
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so fast, so smooth we say i t " s i l k - o n - other things French, proper diction
izes" valves. and intonation take precedence
The Holton S e c r e t : silicones a n d
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special Holton developed additives
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LeWanc0 To speak of preoccupied England
• "Quality Approved" Accessories , during the Baroque period is to
speak almost exclusively of Purcell.
Although much of the court music
had no higher aim than to provide
CHOIR C * O B E S an auditory backdrop to the more
immediate delights of scenic won-
of o u t s t a n d i n g
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with g r a c e and perfection of direct expression that
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76
capo aria, typical of Baroque for-
malism, becomes the vehicle for
lyric effects with beauty of vocal
melody the chief aim. Supported
by simple harmonies and most often
in slow triple meter with a per-
sistent single rhythmic motif, the
emphasis is on graceful, smoothly
flowing phrases.
It is especially the aria that re-
quires the stylistic technique known
as bel canto—that most important
performance development of the
middle Baroque period. Lyric ex-
pressiveness by means of virtuosity
in execution of a highly-ornamental
line marks this studied technique.
The tension results from coping
with the contrast between alternat-
ing phrases of restrained, smooth
melody, and bursts of florid orna-
mentation without sacrificing sheer
beauty of sound. Many of these re-
quirements also apply to the arioso,
a form about mid-way between the
aria and recitative, used primarily
for dramatic effects. As an aside,
there is no doubt that the "instru-
mentalized" voice of the castrato
singer, with its wide range, great
power, and unique timbre, was pe-
culiarly adapted to the bel canto
style.
Recitative was born of early
Baroque attempts to find a way for
declaiming text, melodically, with
the inflections of spoken speech,
and in conscious opposition to the
excessive "unintelligibility" of late
Renaissance polyphony. From these
attempts developed the recitativo
secco, accompanied only by the
harpsichord and perhaps a sustain-
ing bass, and the recitativo accom-
pagnato, involving the help of the
entire orchestra. Performers should
be aware that recitativo secco is
generally used for narrative or
dialogue, calling for a less emo-
tional delivery, while the recitativo
accompagnato is most often used in
tense dramatic situations, demand-
ing a more vigorous attack. The
rapid parlando style of the buffa
patter aria, as in Pergolesi's popu-
lar La Serva Padrona ( 1 7 3 3 ) , is
the ultimate development of recita-
tivo secco, and its challenge is pri-
marily one of virile articulation.
There are two fundamental
choral styles generally encountered
in Baroque music, the imitative,
either in motet or homophonic-
CONTINUED ON PAGE 101
MUSIC EDUCATORS JOURNAL
 S i n g i n g i n S t y l e

B A R O

by Edward F. Menerth, Jr.

Q U E
converse
Continued from page 76

HURCOHYDE
BAND
PARKAS
chordal style, and the polychoral.
T h e basic principle is that of con-
certato, considerably m o r e than a
mere e c h o d e v i c e . T h e "colossal Specially Designed to Keep

Baroque," usually cited in reference M u s i c i a n s Dry, W a r m a n d

to Gabrieli, is a relative term:
"Colossal" is m u c h grander today
than it was t w o hundred and fifty
years a g o . W h e n t w o average-size
choirs are singing antiphonally,
their c o m b i n e d weight at a climax
will p r o v e to b e amply "colossal."
• Ornamentation and improvisa-
tion mark the fourth element help-
ing shape B a r o q u e vocal music. As
early as 1602, Giulio Caccini, in his
preface to Le Nuove Musiche,
explains vocal embellishments
( c a l l e d gorgia, from—significantly—
"throat") as well as tempo rubato.
His a d v i c e to singers on vocal style
and technique is still astonishingly
pertinent, and his severe admoni-
tions against "sliding to the pitch"
are particularly relevant to anyone
h o p i n g to p r o d u c e a clean B a r o q u e
tone.
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A n y well-trained singer knows

that musical figures are classified C O N V E R S E R U B B E R C O M P A N Y
and e m p l o y a b l e to represent cer-
tain affections, but there seems to MALDEN, MASSACHUSETTS 02148
b e an area of uncertainty about
w h e r e and w h e n an ornament or
improvised embellishment is appro-
priate. T h e simplest resolution of
this d o u b t is to stipulate that in an
aria ( o r arioso) the standard places
NIMAC Selective Music Lists . . .
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I n s t r u m e n t a l a n d Vocal Solos
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as will a study of the text for sig-

JUNE-JULY, NINETEEN SIXTY-SIX 101

 nificant words or ideas needing
added emphasis.
jfiem^Kindefiqe/iten h (Jolleqe A n o r n a m e n t is e s s e n t i a l l y a n i m -
provised or pre-established embel-
lishment on the written notes, and
ought always to remain within the
limits o f the style itself. D e c o r a t i v e
M A L L E T
detail should never be more than
P L A Y E D just that, w h e t h e r turn, trill, o r m o r -
d e n t . A t t h e t i m e o f t h e B a r o q u e , it
I N S T R U M E N T S
must be noted, the technique of
vocal art was far beyond that of
instruments, and singers (especially
t h e castrati), as t h e only authentic
Bel! B l o c k s
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Bell Blocks have ing for it a t t h e v e r y b e g i n n i n g o f
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b a r m a k i n g it p o s s i b l e f o r m a n y y o u n g s t e r s t o p a r t i c i p a t e i n c l a s s - can b e separated from the two in-
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505 S H A W M UTT STREET LA G R A N G E . ILLINOIS the early Baroque reach to the
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"recitative," the aim was to capture
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is t h a t it works!" meaning of the text through ex-

tremes o f intensified w o r d meaning.
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from educators all over the country about w h i c h allows for w i d e r vocal leaps.
By the height of the Baroque period
Introduction to
the lengthening vocal line conforms
less a n d less to e a c h w o r d of the
M U S I C F U N D A M E N T A L S text, and general feeling takes
b y J . A U S T I N A N D R E W S , Eastern Washington State College and precedence over specific meaning.
J E A N N E FOSTER W A R D I A N , Whitworth College In opera, for example, the aria
Songboofc Supplement. Index for Review. 220 pages, 498 frames, $3.80. m e l o d y per se is u n h a m p e r e d by a
EXAMINATION COPIES ARE AVAILABLE FROM compulsive need to follow every
A P P L E T O N - C E N T U R Y - C R O F T S · 4 4 0 Park A v e n u e S o . · N e w Y o r k 1 0 0 1 6 single textual nuance. Here the
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the piece, not a preoccupation with

•bTstRS
B O X 8 1 5 6 P O R T L A N D 7, O R E G O N
specific
aid

simple
to
Italian and
literalizations.
greater

rising
German
expression, in

and
A further

i d i o m s , is
falling of
both
the
the

102 MUSIC EDUCATORS JOURNAL

voice, and from the underlying har-
mony.
As is the case with so m u c h of
the vocal music of this period, clear
diction c o m b i n e d with proper
"focus" and breath support are
necessary to help carry the v o i c e
over the larger instrumental forces
the Baroque c o m p o s e r is w o n t to
employ.

• T h e vocal music of Handel is

of sufficient b o d y and popularity
as to merit, along with Bach, spe-
cial examination. M o s t essential to
the performance of this difficult
literature is the p r o p e r establish-
ment o f and rigid adherence to a
t e m p o that is neither rushed nor
dragged—the tempo giusto. B y the
same token, rhythms should b e
maintained as Gibraltar-firm as the The look thaVs sweeping the nation . . ·
d a n c e music from w h i c h so m u c h
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viding necessary vigor, especially in
Name
allegro sections, without loss of the
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Handelian "line" results from c o n - School
sidering large sections as c o m p l e t e ROBERT ROLLINS School Address
units e n d o w e d with a unifying lyric BLAZERS, INC.
and dramatic p o w e r . It should b e 242 PARK AVENUE SOUTH City State.
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JOHNSON VIOLIN METHOD
b y G e o r g e A . Johnson
Handel's operas, not excluding
his mastery o f Italian bel canto, are VIOLIN CLASS TEACHING FOR
best considered as music dramas,
and singers are well-advised to b e PRE-SCHOOL A N D PRIMARY GRADES
attuned to dramatic values implied
in the libretto. Dramatic action is E a s y to play by numbers and letters
most usually found in the recita- No complicated notation to learn
tives and large scenes, although o n e
Excerpt from 0 0 1 1 0 /
must b e alert to deal with tone-
"Twinkle, Twin-
painting and musical symbolism in
the many and frequent guises in
k l e . " Each n u m - τ 3 3
etc
ber indicates the finger d o w n f o r a q u a r t e r note b e a t o n the string a t i n e
w h i c h they o c c u r . Arias are m o r e left. Piano A c c o m p a n i m e n t s included f o r t h e teacher o r p a r e n t .
often reflective, and in many in-
Price: $ 1 . 2 5
stances singers must b e prepared to
deal with the relatively extended See this N E W M E T H O D N o w !
line w h i c h H a n d e l often uses to
avoid a c a d e n c e . But in the final
analysis, it is necessary that all per-
Complimentary—Johnson Violin Method
formers, even the subordinate To:.
tenors and baritones, instill in the
Position: _ . School:
production of Handelian opera the
same lively sense o f drama they Address:.

w o u l d a c c o r d Verdi. City: .State:. Zip:.

Oratorios w e r e entertainments
meant to b e p e r f o r m e d in the NEIL A. KJOS MUSIC C O M P A N Y
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basic style whether the subject mat- 525 Busse, P a r k R i d g e , Illinois 60068
ter is sacred or secular. Although, MENC

JUNE-JULY, NINETEEN SIXTY-SIX 103

 as o p p o s e d to the operas, the chorus
FRANK STACHOW is given the responsibility o f carry-
JOINS VIBRATOR ing out m u c h o f the actual drama,
individual characters are delineated
CONSULTING STAFF with extreme care. In the Messiah,
VIBRATOR is honored to number among its thorough understanding o f the in-
reed consultants Mr. Frank E. Stachow, the strumental i d i o m from w h i c h the
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each note is o f prime importance
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ktO.US.PAT.OFF.
c h a n g e in pitch o r not. O n e must
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R E C O R D E R S m o r e than simple a c c o m p a n i m e n t
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104 MUSIC EDUCATORS JOURNAL

 line supported b y b u o y a n t tempi.
Historical b a c k g r o u n d can b e of
great help to the interpreter. It is
useful to k n o w , for example, that in
LIGHTER
the early cantatas Bach was "gov- STRONGER
erned strictly b y the content of the • QUIETER
w o r d s " and d e d i c a t e d his genius to
the m o o d and meaning of the text,
while those o f his later L e i p z i g
CHORAL
period are m o r e apt to b e mines
of vivid pictorial passages and mu-
RISERS
sical symbolism. In all of these can-
tatas one must c o m p r e h e n d the
Baroque significance of sudden
changes in t e m p o and dynamics
and strong contrasts b e t w e e n solo
and tutti sections.
The use of d a n c e rhythms, often
indicated in groups of dotted
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noted, as well as the presence of
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bridge a large skip in the line, and, COMPARE BEFORE YOU BUY
despite the influence of instrumen-
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This w o r k reveals a subtly dramatic Two Outstanding Works for Concert Band
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APOCALYPTICA by G e o r g e Rochberg

of a "modern" presentational style TRIBAL DRUMS by Bernard Rogers

found mostly in arias and duets, (Transcription by t h e composer of t h e second movement
and the s y m b o l i c use of canonic of h i s symphony " A f r i c a " )
imitation, will help p r o v i d e the in- Again available in t h e Mercury Music Catalog
cisive, clean-cut line this music
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The c o m p o s e r himself has pro- Send f o r o u r c o m p l e t e catalog of Band M u s i c
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well-spotted theatrical outbursts.
This precise balancing of emotion

JUNE-JULY, NINETEEN SIXTY-SIX 105

 and dramatically p o w e r f u l build-
ing of tension can b e destroyed b y
Books on desks,
any omission or alteration in the
no music racks ordering o f numbers.
needed, erect Soloists should examine the texts
and alert of their numbers to discover w h e r e
a lyric quality is required, w h e r e a
youngsters dis-
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Stimulating Creativity with Innovative Motivations . . · c o v e r an incredible merging o f pic-
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I N INSTRUMENTAL MUSIC their aim in performance. But the
by W . Owen Beckley role-playing function of the c h o -
Supervisor of Instrumental Music
Indianapolis Public Schools ruses is o f at least equal impor-
The SOMETHING NEW which alert teachers are seeking, providing new chal- tance, as it ranges from w i l d turba-
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ING students for instrumental music. Provides FULL YEAR of pre-instrumental
instruction and Exploratory Experiences with Band and Orchestra instruments. is often helpful to bear in m i n d
that m a n y forms o f expression in
A FREE COPY will be W. OWEN BECKLEY. Pub. choral passages are b o r r o w e d from
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evaluation. WRITE T O — Indianapolis, Indiana organ style.
By w a y of peroration, let it b e
r e m e m b e r e d that B a c h is still very
EIGHT CHORALE m u c h alive. Scholarly research c o n -
tinues to reveal n e w and pertinent
Settings from OPELLA data about this b o d y o f music,
keeping it alive. So, t o o , must the
NOVA I [1618] performance o f this v o c a l literature
live.
by J O H A N N HERMANN SCHEIN
Edited by L U D W I G LENEL • In conclusion, the question as to
No. 97-4713 $2.25 whether there is a specifically
1. A Mighty Fortress B a r o q u e "sound" can b e answered
2. Ο Lord, Look down from Heaven in terms of its constituents. First
3. Salvation Now to Us Has Come of these, a m o n g several o f equal
4. Our Father, Thou in Heaven importance, is the force and v i g o r
5. Dear Christians, One and All, Rejoice
6. Ο Lamb of God Most Holy
w h i c h propels the music urgently
7. My Soul Now Bless Thy Maker forward. It is revealed through the
8. From Depths of Woe I Cry to Thee quick repetition o f rhythmic figures
"Schein's Opella nova must be considered a contrasted with a restless rhythmic
milestone in the development of the chorale flexibility, and through a straight-
concertato . . . "—Manfred Bukofzer
forward continuous sound that cli-
maxes inevitably in the masculine

(oncordia
*The compositions a r e f o r t w o
v o i c e s , SS o r S A , a n d c o n -
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* A I I o f t h e settings a r e a v a i l - lenges in the score with ease and
V_>/ M U S I C
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grace and g o o d tone requires great
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106 MUSIC EDUCATORS JOURNAL

As c o m p a r e d with the Renaissance,
a n e w texture results from the c o n -
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basso continuo, with the special in-
terest that thus accrues to the t w o last longer
outer voices, especially the bass.
Carried further, this requires care-
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Reedgard prolongs t h e p l a y i n g life of
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w i t h s o m e t h i n g t o p r o l o n g t h e i r play-
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