Talk:The power of music and beauty (John Stanley)
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"A more plausible cadence in F might read the bass (f C tenor clef: d g) f C CC F." (Richard Mix, unsigned. Comment transferred from work-page).
- It is also possible that the piece is fundamentally in C (not just modulation), and that the strange cadential ending represents the unsignalled rump of a da capo aria. I suggest that someone check the two earlier, independent printings in the British Library. to see whether either has the correct pitch and (hopefully) the figuring to the bass line. That is not something to be done in angustia pestilentiae.Cjshawcj (talk) 11:27, 8 February 2022 (UTC)
- The print (the IMSLP link is to the same piece, and the title Apollo's Cabinet, or the Muse's Delight seems to cover several fascicules, of which the Muse's Delight is the main body) has a queer convention of putting the key signature only on the first system, so the b's following the accidental are flat per the caveat at the beginning of the volume, which would make for an odd C even if the voice were somehow amended to cadence on g or e. A trip to the British Library does sound like fun, though! Richard Mix (talk) 20:07, 8 February 2022 (UTC)
- I have now essayed the reinstated link, and can now see the piece. For some reason this is not the same result as I was getting before: that was an hour I shall never retrieve. It is clear, as you surmise, that the correct solution is that the tenor clef been introduced only to facilitate mis-statement: CC F (perfect cadence) is required (and what is played on the Hyperion rendition). It is not clear why the tenor clef was introduced - it may have been to avoid leger lines but, if effected correctly, would have resulted in the final root note being in unison with a soprano, or an octave above a tenor soloist. I blame the printer Sadler - in the mid 1750s he would have been busy developing his transfer printing techniques for the Worcester and Wedgwood manufactories, and semi-obsolete clefs would have been far from his purview.Cjshawcj (talk) 00:04, 9 February 2022 (UTC)
- Maybe the b-flat clef was intended :-D Richard Mix (talk) 00:28, 9 February 2022 (UTC)
- I have now essayed the reinstated link, and can now see the piece. For some reason this is not the same result as I was getting before: that was an hour I shall never retrieve. It is clear, as you surmise, that the correct solution is that the tenor clef been introduced only to facilitate mis-statement: CC F (perfect cadence) is required (and what is played on the Hyperion rendition). It is not clear why the tenor clef was introduced - it may have been to avoid leger lines but, if effected correctly, would have resulted in the final root note being in unison with a soprano, or an octave above a tenor soloist. I blame the printer Sadler - in the mid 1750s he would have been busy developing his transfer printing techniques for the Worcester and Wedgwood manufactories, and semi-obsolete clefs would have been far from his purview.Cjshawcj (talk) 00:04, 9 February 2022 (UTC)