Musicaantiqva

Sinceramente, es hermoso comprobar que los conocimientos de uno pueden tender a cero. Así que quisiera en este hilo pudiésemos formular aquellas inquietudes que muchas veces nos guardamos durante años y años.

- ¿Qué criterio se siguió en el Bach Werke Verzeichnis para numerar correlativamente las casi 200 cantatas sacras del canon? No le veo orden ni alfabético ni conformado al calendario litúrgico (que yo sepa), o siquiera a los sucesivos años que Bach debía surtir de cantatas a Santo Tomás de Leipzig.

Y,

- Se preguntó aquí sobre el significado del título de la pieza de F. Couperin Les barricades mystérieuses. Si hubo respuesta, confieso que ella se me perdió. ¿Se sabe fehacientemente qué significa ese título? Cuando escucho Les barricades... me es imposible no evocar la pintura negra de Goya comúmente conocida como El perro en la arena y que subí en mi hilito "Carátulas hermosas". Un misterio total.

Hallé esto sobre el particular. No sé si sea confiable. Yo no entiendo nada:

While the piece itself is haunting and beautiful, its effect has surely been enhanced by its mysterious title. Couperin gave most of his harpsichord pieces titles. This practice stemmed from "the music of Chambonnières and the earliest works of the French 'clavecinists' who, in turn, had borrowed the habit from the lutenists of the late sixteenth century" (David Tunley, Couperin, BBC, 1982, p. 79). Some of Couperin's pieces are named after people or types of people, some indicate something the music is supposed to represent. A few of the names, however, remain mysteries to us. David Tunley adds that "even in their own days these same pieces might well have appeared enigmatic to all but a handful of the composers' circle" (ibid., p. 82-3). Such appears to be the case with "Les Barricades Mistérieuses." However, this has not stopped people from speculating.
In 'The mirror of human life': Reflections on François Couperin's Pièces de Clavecin by Jane Clark and Derek Connon (Redcroft, King's Music, 2002), Jane Clark links the VIth ordre to a divertissement staged by one of Couperin's patrons, the Duchesse Du Maine in 1714. The entertainment was called Le Mystère ou les Fêtes de l'Inconnu (The Mysterious One or the Celebrations of the Unknown One). In the performance, the King's musicians and Marguerite-Louise Couperin (François' sister) wore masks, emphasizing the mysterious presence celebrated by the divertissement, possibly the exiled Stuart James III. Clark suggests that the barricades mistérieuses may refer to these masks (p. 67-8 ). With regard to another piece, La Misterieuse, in the XXVth ordre, Clark suggests a possible reference to the Duchesse Du Maine's interests in freemasonry.

Wilfrid Mellers also wonders if there is a link to a divertissement. He suggests that the piece is "one of Couperin's technical jokes, the continuous suspensions in the lute style being a barricade to the basic harmony; and this may link up with the illusory devices in a masque decor. Barricades has its modern sense after 1648, but if the harmonic ambiguities might be described as 'revolutionary' in the context of baroque orthodoxies, the tone of the music remains, even in its mystery, impeccably aristocratic" (François Couperin and the French Classical Tradition, new version, London, Faber and Faber, 1987, pp. 400-2). However, none of Couperin's other names with which I am familiar refer to technical aspects of the music itself other than to name its form or type. So on Meller's hypothesis, this title would be quite an anomaly. And why should the 'barricades' to the basic harmony be described as 'mysterious'?

Fuente: http://www.as.miami.edu/personal/sevnine/barricades.htm

Se agradece.