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References in periodicals archive ?
31468 the motif is consistently rewritten as a dotted crotchet and four demisemiquavers, except in one place (bar 39, counting bars in semibreves) where the copyist evidently overlooked it.
in version 1 was supposed to have been written a la maniere francaise: in simpler rhythmic notation of mostly semiquavers instead of demisemiquavers, and with simple dotting (??), expecting the performer of the time to read it according to the rules of the `French tradition'.
However, the most outstanding change in the new version is the consistent renotation of the Hauptfigur, from semiquavers to demisemiquavers: ??
The tonic chord held over a stepwise descending bass is a familiar enough harmonic device in Corelli's musical language, but the added 3rds in the bass add remarkable harmonic spice to this passage (could one imagine arpeggiating this C major chord in semiquavers or even demisemiquavers?)
The early version of the first section (which readers will also find in the Neue Bach-Ausgabe IV/vii at page 154) omits virtually all the demisemiquavers which fill out the scalic passages, and it also has a firm tonic cadence and reprise of the opening, though an octave lower, at bar 15: thus the shape of this section is quite different from that of the familiar text.
To take an obvious example from Cosyn: it is clear that he abandoned his old-fashioned habit of flagging quavers and semiquavers separately and reserving beaming for demisemiquavers only towards the end of his work on CVB.
Thus the appearance of demisemiquavers in a published source would imply that the tempo for a minim was significantly less than MM 60.
The evidence of ex.1 suggests that Couperin was not the only 18th-century admirer of Corelli who equated poetic frenzy with demisemiquavers.
Corelli's bass is left unchanged throughout, although in the first two variations its note values are doubled, apparently to avoid demisemiquavers in the violin part (and presumably with [symbol omitted] intended).(16) In the final 6/8 variation, [symbol omitted] and [symbol omitted] are rendered as [symbol omitted].
The effect of the tremolo is the same as that produced by a succession of demisemiquavers on the same pitch in a fast movement.
If both movements are andante and later on use demisemiquavers for much the same decoration, they cannot differ much in character.