{"title":"Into the Galant: Tartini, Telemann, Quantz, and Zuccari","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0019","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0019","url":null,"abstract":"The final ornamentation module deals with examples by Giuseppe Tartini, Georg Philipp Telemann, Johann Joachim Quantz, and Carlo Zuccari. Tartini’s treatise on ornamentation contains a clear and systematic approach to ornamentation, dealing with grace notes, trills, vibrato, turns, and mordents, and giving many examples of embellished cadences. Telemann’s Methodical Sonatas contain embellished slow movements in both French and Italian styles. They are categorized, and an exercise is devised for assimilating them. Quantz wrote one of the most comprehensive interval-based ornamentation tables of the entire Baroque period, relevant above all to the Style Galant and including note-by-note instructions for performance. Examples are given with these instructions reproduced. He also composed an Adagio with instructions for almost every note: these have been transcribed from the instructions for ease of study. Quantz also offers advice on cadenzas, of which two are reproduced. To conclude, a page of Carlo Zuccari’s 1760 True Method of Playing an Adagio is reproduced.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121917619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Beyond “Beautiful”","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0018","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0018","url":null,"abstract":"The lesson starts by comparing two paintings. One, purely decorative, depicts a vase of flowers. The other, Rembrandt’s portrait of Homer, is meaningful in many ways: to describe it merely as “beautiful” is to miss the point. So it is with music. Johann Mattheson, in Der Vollkommene Capellmeister, gives us a detailed insight into what he calls the “science of melody.” The composer chooses a required affect and turns it into a written composition; the performer studies the written page and, perceiving the affects, turns it into sound. In the lesson’s exercise, “Becoming conscious of the ever-changing affects,” the reader is charged with identifying affects in a movement by Handel on a bar-by-bar basis. Punctuation is another essential aspect of literary and musical texts and is crucial to a rhetorical way of playing. There are two types, written and implied. The reader is asked to identify the punctuation in the Handel movement.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127948856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ornamenting Corelli","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0009","url":null,"abstract":"The great virtuosi of the eighteenth century were famous for their improvisational skills, although some were criticized for distorting rather than embellishing the music: examples of such criticism are quoted in this lesson. Editions of Corelli sonatas were published with ornaments added, notably Estienne Roger’s 1710 edition, but no didactic Table of Ornaments, such as the seventeenth-century ones studied earlier in this book, exists from this period. To correct this historical omission, ornaments from Roger’s edition and from William Babell’s 1725 Twelve Solos for Violin have been formed into separate Tables of Ornaments, arranged by intervals. It is hoped that students will find these useful when they are learning to ornament Italian and Italianate sonatas from the first part of the eighteenth century. The ornaments in the tables range from simple appoggiaturas to whole passaggi and advice is given on how to practice them.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133010575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Approaching the Music of the French Baroque","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0013","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0013","url":null,"abstract":"This interlude outlines the historical and cultural background to French Baroque music, arguably the hardest Baroque style to approach. A study of attitudes, conventions, and etiquette within Louis XIV’s court at Versailles and an account of Louis’s achievements in the arts provide the reader with a foundation for the understanding and performance of the music itself. The stylized, proscribed behavior at court is reflected in the aesthetics of French musical style and in the French concept of ornamentation, radically different from that of the Italians that some considered lacked sophistication. French ornamentation is written down in the form of agrémens, little ornaments indicated by specific symbols. Little deviation from the written text is normally allowed. The lowly social status of the violin in France accounts for the dearth of violin music in the early Baroque period, one reason for the Concerts Royaux of Couperin to be selected for discussion here.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":" 34","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132074842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dario Castello: Sonata Prima, A Sopran Solo","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0006","url":null,"abstract":"Castello’s sonatas signal a radical departure from previous practice by introducing words (Allegro and Adagio, in Venetian dialect) to describe the mood of the sections and the implied tempi: this suggests a release from the dictates of tactus and the subsequent enhancement of freedom to the performer, the hallmark of what came to be known as stylus fantasticus. The bulk of the lesson deals with minutiae in the Observations section. An exercise entitled “Active impulses and passive ‘after-notes’ ” is designed to highlight the important notes and underplay the less important ones. Intensively notated examples of phrasings and dynamics within a line of equal notes promote the idea of dialogue and narrative, rather than melody. In his short adagios, explored in detail, Castello proves himself a master of expression.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121379604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“The Noble Manner of Singing”","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0003","url":null,"abstract":"As no treatise on violin playing exists from this time, the Preface to Giulio Caccini’s Nuove Musiche (1602), emphasizing music’s “power to move the affections of the soul,” is an invaluable source of information on contemporary expression. Caccini shuns long, distracting passaggi, advocating instead specific expressive devices. These include the intonatio, the “growing and diminishing of the voice” and exclamations of varying intensity. A gruppo enhances a cadence and a cascata is a series of freely falling notes. Rhythmic alteration adds interest to equal notes and sprezzatura implies, among other things, “not submitting oneself to strict rhythm.” Some of these devices are here ‘translated’ into terms of violin technique by means of exercises: the trillo, an ornament on a single note, translates as a bow vibrato or staccato. Caccini’s annotated madrigal “Deh, dove son fuggiti” is reproduced in full as a piece pointing the way to the earliest violin sonatas.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124981590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Johann Sebastian Bach","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0028","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0028","url":null,"abstract":"The history and background of the loure from its appearance in 1701 is followed by a description of its choreography. The tempo and bowings are arrived at using French sources; as the loure is described as a slow gigue, an exercise recommends playing it as such, gradually reducing the speed until a comfortable tempo is reached that preserves the dance feel. Bowings by Michel Pignolet de Montéclair are reproduced and used as an initial blueprint for bowing Bach’s Loure. Five points culled from quoted sources help seek out the character: this leads to a discussion on punctuation and articulation in dance movements generally, quoting Mattheson’s annotated example of a minuet. One feature of the loure is the irregular length of its phrases, and these are marked. Ornamentation in Bach’s dances is discussed: his French-style Table of Ornaments is reproduced along with examples of his own ornaments in his transcription of the Loure for lute.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127120703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Transforming Visual Gestures into Sound","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0008","url":null,"abstract":"This interlude proposes a way of harnessing powers of expression from a work of art, a sculpture by Bernini, and a mystical text, the autobiography St. Teresa. Imitating the pose of a painting or sculpture, internalizing the emotions with which the artist has painstakingly struggled to endow that work, allows us a glimpse into a world that is not ours, into a time and a place that is far distant but which we, as artists and students of that age, must struggle to understand and make our own. Some may find such an idea too fanciful; others may protest that it is out of place in a book on how to play the violin. But part of a teacher’s job is surely to inspire and it is my hope that some may find the concept enriching, revealing or, at the very least, diverting.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":"174 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127008281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Brief History of Baroque Romanticism","authors":"Walter S. Reiter","doi":"10.1093/oso/9780197525111.003.0020","DOIUrl":"https://doi.org/10.1093/oso/9780197525111.003.0020","url":null,"abstract":"This lesson looks at how the way of playing the solo works of Bach evolved through the nineteenth and twentieth centuries. The author expresses respect for the great artists who perform in a more traditional way but notes that times are changing, with today’s students having more available stylistic options. Both the title and title page of Bach’s book are discussed in detail and the question of symbolism here and elsewhere in the work is explored. A history of the book and the Bach revival from Mendelssohn to modern times follows. Robert Schumann, Felix Mendelssohn, Johannes Brahms, and Fritz Kreisler added piano accompaniments. The philosophy of bringing Bach’s music stylistically “up to date” was a constant, the first editions liberally changing bowings and adding fingerings reflecting contemporary playing style. Not until modern times were editions available showing what Bach actually wrote. By that time the tradition of playing Bach in a Romantic way firmly embedded.","PeriodicalId":294892,"journal":{"name":"The Baroque Violin & Viola, vol. II","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121442653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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