Rapport - Högskolan för scen och musik - Göteborgs universitet

fancey in each, and no one much regard what another doth; and in all that disorder upon
the key the sound will be rich and amazing.” 77
Martin Fuhrmann skriver 1706 att Praeludium kan vara ”when the
instrumentalists at the beginning of a dinner music make a praeludium among
themselves on their viols, which happens at princely courts, and sounds quite good if the
instrumentalists undertand one another well.” 78 För denna positiva effekt preludierade
musikerna troligen i samma tonart, antagligen i tonarten för det kommande stycket.
Senare under 1700-­‐talet är vittnesmålen inte längre positiva, möjligen
ansågs det inte i enlighet med 1700-­‐talets ökande orkesterdisciplin; Quantz skriver
if the leader [of the orchestra, violinist] wishes to maintenain
correct intonation in the performance of a musical
composition, he must first tune his own instrument truly with
the keyboard, and then have each individual instrumentalist
tune with him. That the instruments may not be put out of tune
again if the performance does not begin immediately, he must
not allow anyone to play preludes or other fancies as he
please; they are very unpleasant to listen to, and often cause
the players to alter the tuning of their instruments, and finally
deviate from the common tuning. 79
Vanderhagen är av samma uppfattning och skriver efter att ha beskrivit solo-­‐
preludierande ”But this [practice] is good only when one [plays] alone, for a very bad
effect is produced when several people prelude together, and, unfortunately, this is what
one hears fairly often in some orchestras where the leader is not strict enough to forbid
this practice.” 80
2.7.1 Att stämma medan orgeln preludierade
I kyrkan var det vanligt att organisten preludierade för att låta musikerna diskret
stämma instrumenten till orgeln; Friedrich Erhardt Niedt skriver
The organist plays something on the organ while the other
instruments are tuning so that the instrumentalists can tune
properly and the singers can check their pitch without
annoying the audience. Such a prelude can be as long as the
organist wishes, or until the instrumentalists have tuned and
given him a sign to stop. This prelude is played with full organ
or otherwise with strong [registration]. 81
Fuhrmann beskriver samma praxis, att Praeludium är ”either an organist composes a
Sinfonia ex tempore on his keyboard, during which the instrumentalists tune their
77 Peters, s. 12.
78 Fuhrmann ”Musicalisher Trichter” s. 86, citerad i Kerala Snyder Dietrich Buxtehude:
Organist in Lübeck. Rochester: University of Rochester press, 2007, s. 249-­‐250.
79 Quantz, s. 209-­‐210.
80 Vanderhagen, s. 66.
81 ”The Musical Guide” del 1 (1700/10), 2 (1721) och 3 (1717), citerad i Peters, s. 113.
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