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The Baroque Violin & Viola, vol. II A Fifty-Lesson Course [Book [Binded]]

  • Formatas: Hardback, 362 pages, aukštis x plotis x storis: 219x286x25 mm, weight: 1052 g, 191 music ex., 14 illustrations, 26 figures
  • Type: Book [Binded]
  • Išleidimo metai: 2020
  • Leidėjas: Oxford University Press Inc
  • Aranžuotė: Violin or Viola
  • genres: Mokymas
  • Kalba: English
  • ISBN-10: 0197525113
  • ISBN-13: 9780197525111
Kitos knygos pagal šią temą:
  • Formatas: Hardback, 362 pages, aukštis x plotis x storis: 219x286x25 mm, weight: 1052 g, 191 music ex., 14 illustrations, 26 figures
  • Type: Book [Binded]
  • Išleidimo metai: 2020
  • Leidėjas: Oxford University Press Inc
  • Aranžuotė: Violin or Viola
  • genres: Mokymas
  • Kalba: English
  • ISBN-10: 0197525113
  • ISBN-13: 9780197525111
Kitos knygos pagal šią temą:
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 II provides a comprehensive exploration of the period's rich and varied repertoire.

The lessons in Volume II cover the early seventeenth-century Italian sonata, music of the French Baroque, the Galant style, and the sonatas of composers like Schmelzer, Biber, and Bach. 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 II: A Fifty-Lesson Course will enhance performances of professional and amateur musicians alike.

Recenzijos

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 xiii
Inspirational quotes xix
Questions and Answers xxi
About the Companion Website xxiii
Acknowledgments xxv
PART THREE APPROACHING THE EARLY SEVENTEENTH-CENTURY ITALIAN SONATA
Lesson 24 Stepping Back in Time: Division Manuals 1535-1624. Ornamentation, Module Two
3(15)
Divisions
4(1)
Learning to Dare: Developing Basic Improvisational Skills
5(2)
Sylvestro Ganassi's Fontegara (Venice, 1535)
7(1)
Studying Divisions from Ganassi's Fontegara
8(2)
Learning to Read Sixteenth and Seventeenth-Century Music from Facsimiles
10(1)
Note Values
10(2)
Giovanni Bassano: Ricercate, passaggi et cadentie (Venice 1585)
12(1)
Cadences
13(1)
Aurelio Virgiliano: Regole delta diminutione (c. 1600)
14(1)
Observations on Virgiliano's Regole
15(3)
A Florentine Interlude. Toward "The New Music": From Plato to Caccini
18(4)
Lesson 25 "The Noble Manner of Singing": Caccini's Le nuove musiche (1602)
22(9)
Passaggi
23(1)
Three Ways to Sing a Note
23(1)
Transferring Caccini's Cor mio, deh! non languire to the Violin
24(1)
The Trillo and the Gruppo
25(1)
Transferring the Vocal Trillo to the Violin
26(1)
The Gruppo
27(1)
Transferring the Vocal Gruppo to the Violin
27(1)
Rhythmic Alteration
27(1)
Transferring the Vocal Cascata to the Violin
28(1)
Sprezzatura
28(1)
Transferring Caccini's Deh, dove son fuggiti to the Violin
29(2)
Lesson 26 A Lesson from Francesco Rognoni Taeggio: Applying Vocal Technique to the Violin
31(7)
El Portar della Voce
32(1)
The Accento
32(1)
The Tremolo
32(1)
The Gruppo
33(1)
Del principiar sotto la nota
33(1)
The Esclamationi
34(1)
La Selva, Part Two
35(1)
Francesco Rognoni's "Way of Slurring"
36(1)
Observations on Rognoni's "Modo di lireggiar"
37(1)
Lesson 27 Giovanni Battista Fontana (1589 (?)--1630) Sonata Terza
38(15)
The Tactus
40(1)
Reading This Sonata in the Original Notation
41(1)
Clefs
42(1)
Rests
42(1)
Coloration
43(1)
Observations
43(4)
Tempo Relationships and Proportional Notation
47(6)
Lesson 28 Dario Castello: Sonata Prima, A Sopran Solo
53(31)
Observations
54(11)
Lesson 29 Giovanni Antonio Pandolfi Mealli: Sonata Quarta, op. 4, no. 4, La Biancuccia
65(1)
Stylus Fantasticus
65(1)
Musica Ficta
66(1)
Observations
67(13)
A Roman Interlude: Transforming Visual Gestures into Sound
80(4)
Lesson 30 Ornamenting Corelli: Module Three including Tables of Ornaments Derived from the Sonatas of Corelli and Babell
84(11)
PART FOUR CHURCH MILITANT: THE SONATAS OF SCHMELZER AND BIBER
Lesson 31 Johann Heinrich Schmelzer (c. 1620-1680): Sonata Quarta from Sonatae unarum fidium (1664)
95(25)
Observations
96(11)
Afterthought
107(2)
Lesson 32 Heinrich Ignaz Franz von Biber: The Mystery Sonatas. Sonata no. 1: The Annunciation
109(1)
The Mystery Sonatas: An Introduction
109(1)
Sonata no. 1: The Annunciation
110(2)
Reference to the Texts
112(1)
Observations
113(7)
Lesson 33 Heinrich Ignaz Franz von Biber: The Mystery Sonatas. Sonata no. 10: The Crucifixion
120(15)
Scordatura
120(3)
Symbolism and the Jesuits
123(1)
Observations
124(4)
The Rhetorical Fragments Described
128(7)
PART FIVE SUPREME REFINEMENT OF THE HUMAN SPIRIT: FRANCOIS COUPERIN AND THE MUSIC OF FRANCE
Interlude in Versailles: Approaching the Music of the French Baroque
135(7)
The Sun King and the Culture of Versailles
135(5)
The Social Status of the Violin in France
140(2)
Lesson 34 The "Concerts" of Francois Couperin: Ornamentation, Module Four
142(10)
Introduction
142(3)
The Tremblement
145(1)
The Pince
146(1)
The Port de Voix
147(1)
The Tierce Coulee
148(1)
The Comma (Petit Silence)
148(1)
Notes Inegales
149(1)
Slurs
150(1)
Pitch
150(1)
Addendum: The Double
150(1)
The Aspiration and the Suspension
150(2)
Lesson 35 To Soothe the Sorrows of a King. Francois Couperin: Septieme Concert (I)
152(8)
Movement One (no title)
152(3)
Allemande, Gayement
155(3)
Postscript: Dynamic and Rhythmical Inegalite, a Personal View
158(2)
Lesson 36 Francois Couperin: Septieme Concert (II)
160(6)
Sarabande Grave
160(1)
Georg Muffat on Lully's Bowings
160(2)
Observations
162(4)
Lesson 37 Francois Couperin: Septieme Concert (III)
166(11)
Fuguete
166(1)
Observations
167(2)
Gavote
169(1)
Observations
170(1)
Siciliene
171(1)
Observations
172(5)
PART SIX APPROACHING THE GALANT
Lesson 38 Beyond "Beautiful": Searching for Meaning in Music
177(9)
Beautiful Sights and Beautiful Sounds
177(2)
Handel and Mattheson
179(1)
Der Vollkommene Capellmeister
179(2)
Identifying Affects in the Handel Sonata Movement
181(1)
Punctuation
182(4)
Lesson 39 Into the Calant: Tartini, Telemann, Quantz, and Zuccari: Ornamentation, Module Five
186(1)
Tartini
186(5)
Telemann's Methodical Sonatas
191(2)
Telemann's Ornaments
193(2)
Quantz
195(2)
A Lesson from the Master: Quantz's Annotated Adagio
197(1)
Zuccari
198(5)
PART SEVEN J. S. BACH
Lesson 40 A Brief History of Baroque Romanticism: Bach's Sei Solo
203(8)
Conclusion
210(1)
Lesson 41 Johann Sebastian Bach: Sonata I, BWV 1001, Adagio
211(16)
Bach's Written-Out Ornamentation
211(3)
Observations
214(2)
The Necessity of Illusion
216(4)
A Controversial Note
220(6)
Afterthought
226(1)
Lesson 42 Johann Sebastian Bach: Sonata I, BWV 1001, Fuga
227(12)
Observations
229(8)
A Note on Resonance
237(2)
Lesson 43 Johann Sebastian Bach: Sonata I, BWV 1001, Siciliana
239(7)
Observations
241(3)
Hooked Bowings
244(2)
Lesson 44 Johann Sebastian Bach: Sonata I, BWV 1001, Presto
246(10)
Bach and Rhetoric
246(6)
Observations
252(2)
On Slow Practice
254(2)
Lesson 45 Intonation in Bach's Sei Solo
256(8)
Section One The Training of the Ear
256(1)
Intonation Analysis
257(2)
Learning to Hear Quickly
259(2)
Section Two The Training of the Left Hand
261(1)
Playing Chords: The Left Hand
261(3)
Lesson 46 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Preludio
264(11)
Observations
265(6)
Interlude: Bach and the Influence of French Culture in the German Lands
271(1)
Bach and Dance
272(3)
Lesson 47 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Loure
275(9)
Tempo and Bowings in Bach's Loure
275(3)
Punctuation and Articulation in Dance Movements
278(1)
Punctuation and Articulation in Bach's Loure
278(1)
Observations
279(3)
Ornamentation in Bach's Dances
282(2)
Lesson 48 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Gavotte en Rondeaux
284(9)
Observations
286(7)
Lesson 49 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Minuets I and II
293(6)
Bowings
294(1)
Minuet Premiere
295(1)
Observations
295(2)
Minuet Seconde
297(2)
Lesson 50 Johann Sebastian Bach: Partita III in E Major, BWV 1006, Bouree and Gigue
299(8)
Bouree
299(1)
Observations
300(2)
Gigue
302(1)
Observations
303(1)
Second Half
304(3)
Bibliography 307(10)
Index 317
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 Conservatory of The Hague in the Netherlands.