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El. knyga: Baroque Violin & Viola: A Fifty-Lesson Course Volume I

(Professor of Baroque Violin, The Royal Conservatoire of the Hague)
  • Formatas: 496 pages
  • Išleidimo metai: 28-Sep-2020
  • Leidėjas: Oxford University Press Inc
  • Kalba: eng
  • ISBN-13: 9780190922726
Kitos knygos pagal šią temą:
Baroque Violin & Viola: A Fifty-Lesson Course Volume IDidesnis paveikslėlis
  • Formatas: 496 pages
  • Išleidimo metai: 28-Sep-2020
  • Leidėjas: Oxford University Press Inc
  • Kalba: eng
  • ISBN-13: 9780190922726
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In the early seventeenth century, enthusiasm for the violin swept across Europe--this was an instrument capable of bewitching virtuosity, with the power to express emotions in a way only before achieved with the human voice. With this new guide to the Baroque violin, and its close cousin, the Baroque viola, distinguished performer and pedagogue Walter Reiter puts this power into the hands of today's players. Through fifty lessons based on the Reiter's own highly-renowned course at The Royal Conservatory of the Hague, The Baroque Violin & Viola, Volume I provides a comprehensive exploration of the period's rich and varied repertoire.

Volume I covers the basics of choosing a violin, techniques to produce an ideal sound, and sonatas by Vivaldi and Corelli. Practical exercises are integrated into each lesson, and accompanied by rich video demonstrations on the book's companion website. Brought to life by Reiter's deep insight into key repertoire based on a lifetime of playing and teaching, The Baroque Violin & Viola, Volume I: A Fifty-Lesson Course will enhance performances of professional and amateur musicians alike.

Recenzijos

This 2020 publication in two paperback volumes is a tour de force which covers an amazing amount of Baroque territory. Together, the over 600 pages with illustrations and musical examples, quotes and handy hints covers just about everything you'll want to know. * Patrice Connelly, AUSTA National Journal Reviews * This book is exactly what violinists need to find practical and profoundly-researched information about anything concerning Baroque style. It is a book all musicians truly interested in delving into historical performance questions should never let out of their sight * Isabelle Faust, violinist * This is a lot more than a book about how to play the violin. It shows Reiter to be an expert guide in defining a rich cultural context for music-making - and not just violin-playing - and with the potential to shatter dull preconceptions. His practical experience, learning and articulacy combine to enrich and extend our purview of instrumental music extending over five centuries. An excellent and enlightening treasure-trove for all music-lovers. * Sir John Eliot Gardiner * This is an amazing accomplishment, covering all technical, historical and musical aspects of playing as well as how to listen and how to find our inner voice... such a generous gift to Baroque violinists and violists and one that will be hugely appreciated and celebrated! The writing is delightfully methodical and vitally informative, with a constant eye on the sources, humorous and entertaining throughout. A complete joy! * Rachel Podger, Visiting Professor of Baroque violin, Royal Academy of Music London, Royal Welsh College of Music and Drama Cardiff, Juilliard School of Music New York * Reiter's timely and immensely usable new oeuvre will certainly be an important tool for Baroque string players and their students as well as a powerful reference for modern violinists and viola players who wish to give eloquence and understanding to the glorious string repertory of the 17th and 18th centuries. * William Christie *

Daugiau informacijos

Winner of Winner of the Music Teacher Magazine Editor's Award 2021.
Foreword xi
Inspirational Quotes xvii
Questions and Answers xix
About the Companion Website xxiii
Acknowledgments xxv
PART ONE THE BASICS
Lesson 1 Prelude
3(8)
Choosing a Violin or Viola
4(1)
Choosing a Bow
5(1)
Strings
6(3)
Pitch
9(2)
Lesson 2 Holding the Violin
11(12)
How to Hold the Baroque Violin: A Beginner's Guide
19(2)
Postlude
21(2)
Lesson 3 The Bow, Creator of Sound
23(4)
Holding the Bow
23(4)
Lesson 4 First Sounds: Celebrating Our Vocal Heritage
27(9)
Searching for Our Vocal Roots
29(1)
Exploring the Rhythm of Words
30(4)
Postscript
34(2)
Lesson 5 Copying the Human Voice: Sweelinck's Garrulous Little Swallow (1612)
36(9)
Vowels
39(1)
Diphthongs
40(1)
Single and Double Consonants
41(1)
Bowings
42(2)
Postscript
44(1)
Lesson 6 Five Exercises to Help Accustom You to `Chinless' Playing
45(6)
Recalling These Exercises in a Performance Situation
49(2)
Lesson 7 More Basic Concepts and Techniques: "A Division on a Ground" by Mr Faronell, from The Division Violin, London 1684
51(15)
The Importance of the Bass Line
52(1)
Tempo and Rhythm
53(1)
The Hierarchies and the Bow Impulses
54(1)
Observations
55(3)
Variation 1 Dotted Notes
58(2)
Variation 2 Good Notes and Bad Notes
60(1)
Variation 3 Varying the Articulation
61(5)
Lesson 8 Learning to Feel: Developing a Heightened Awareness of the Emotional Power of Sound and the Intervals
66(8)
Emotional Information: What Sound Tells Us
67(4)
How to Prepare: Manipulating Our Emotions
71(3)
Lesson 9 The Inner Life of Sound: "Messa di voce"
74(11)
Postscript: Additional Study Material
83(2)
Lesson 10 Applying the Messa di voce. Arcangelo Corelli: Adagio from Sonata, op. 5, no. 3
85(14)
Dissonances and Consonances
86(2)
Observations
88(1)
On Trills
89(2)
In Praise of the Second Position
91(2)
Hemiolas: To Be Heard as Well as Seen?
93(1)
A Note on Chromatic Fingering
93(2)
Sound and Expression
95(2)
Summary
97(2)
Lesson 11 Temperament and "Historical" Intonation: An Outline
99(9)
How Do We Learn "Pure" Intonation?
101(1)
Leopold Mozart on Overtones
102(3)
Peter Prelleur's Fingerboard
105(3)
Lesson 12 Chinless Shifting: Technique and Application
108(19)
Section One Toward a Methodology of Shifting
108(12)
Section Two Applying Pure Intonation to Geminiani's Scale Studies from His The Art of Playing the Violin (1751)
120(7)
Lesson 13 Bringing Fast Notes to Life: The Inequality of the Equal. Albinoni: Sonata, op. 6, no. 2, Allegro
127(12)
How to Play Equal Notes in a Flexible and Subtle Way
127(1)
The Three Flexibilities
128(4)
Observations
132(1)
Adding Slurs: A Misdemeanor?
133(1)
Sequences
134(4)
Summary
138(1)
Lesson 14 Learning to Feel Comfortable on Cut Strings: The Bow
139(7)
Lesson 15 Learning to Feel Comfortable on Gut Strings: The Left Hand
146(9)
The Fingers: Slaves of Our Inner Voice
147(8)
PART TWO RE-EXAMINING THE FAMILIAR: SONATAS BY VTVALDI AND CORELLI
Lesson 16 The Starting-Point of Interpretation: Learning to Observe. Arcangelo Corelli: Sonata, op. 5, no. 7
155(14)
Interpretation: A Question of Taste?
155(2)
Editions or Facsimiles?
157(1)
Instrumentation in Corelli's op. 5 Sonatas
157(1)
Means of Expression
158(1)
Choosing a Convincing Tempo
158(1)
Preludio
159(8)
Afterthought: What Happens Within
167(2)
Lesson 17 Corelli: Sonata, op. 5, no. 7
169(16)
Corrente
169(8)
Sarabanda
177(4)
Giga
181(4)
Lesson 18 Transforming Musical Decisions into Sound
185(8)
Lesson 19 In the Footsteps of Corelli. Antonio Vivaldi: Sonata, op. 2, no. 1, Preludio
193(9)
Observations
193(2)
Gesture
195(2)
Shifting: How, When, and Whither?
197(1)
Open Strings: Use or Misuse
198(2)
Notes Essential and Notes Ornamental
200(2)
Lesson 20 In the Footsteps of Corelli. Antonio Vivaldi: Sonata, op. 2, no. 1 (Conclusion)
202(14)
Giga. Allegro
202(4)
Sarabanda Largo
206(4)
Corrente
210(6)
Lesson 21 Nurturing Spontaneity: Ornamentation, Module One
216(11)
Ornamentation: Diversion or Essence?
216(2)
Overcoming Our Fear of Playing the Unwritten
218(1)
Ornamentation and National Styles
219(1)
Composed Ornamentation
220(2)
First Steps in Ornamenting: Corelli's Sarabanda
222(3)
Ornamenting the Second Half of the Sarabanda
225(1)
Corelli's Sarabanda Ornamented by Dubourg
225(2)
Lesson 22 Straight from the Heart: The Great Vibrato Debate
227(12)
Conclusions
237(2)
Lesson 23 Rhetoric: The Power to Persuade
239(16)
The Origins of Rhetoric
239(1)
Rhetoric and Music
240(1)
The Musician as Orator
241(2)
Rhetorical Playing versus Pure Instrumentalism
243(1)
Some Rhetorical Figures
244(11)
Bibliography 255(10)
Index 265
Walter Reiter is internationally recognized as a leading Baroque violinist, leader and conductor. He has made countless recordings with both British and European Baroque orchestras as well as several highly acclaimed solo CDs. A devoted and experienced teacher of both modern and Baroque violin, he is currently Professor of Baroque Violin and Viola in the Royal Conservatoire of The Hague in the Netherlands.
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