Ornamentation in baroque and post-baroque music : with special emphasis on J.S. Bach

Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period. The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music. Preface Acknowledgments Contents List of Abbreviations PART I: INTRODUCTION 1 Ornament and Structure 2 The Categories of Musical Ornaments 3 Historical Performance and the Problem of Method PART II: BAROQUE TRENDS OF ORNAMENTATION Introduction 4 Italian Developments 5 French Developments 6 German Developments 7 J. S. Bach's Usage PART III: ONE-NOTE GRACES Introduction 8 The French Port de voix and Coule: Definition and Character 9 Port de voix and Coule for Voice and Melody Instruments, 1636-1715 10 Port de voix and Coule on the Lute and the Keyboard, 1615-1715 11 Couperin's Ports de voix and Coules 12 Port de voix and Coule, 1715-1775 13 Accent and Chute 14 Italian One-Note Graces, 1590-1710 15 German One-Note Graces, 1620-1715 16 J. S. Bach's One-Note Graces 17 Italian One-Note Graces, 1710-1760 18 German One-Note Graces, 1715-1765 PART IV: THE SLIDE Introduction: Two-Note Graces and the Nature of the Slide 19 The French Slide, 1689-1776 20 The Italo-German Slide, 1600-1715 21 J. S. Bach's Slide 22 The Italian Slide, 1710-1760 23 The German Slide, 1715-1780 PART V: THE TRILL Introduction: Designs and Terms 24 The French Trill, 1630-1715 25 Couperin's Trill 26 The French Trill, 1715-1785 27 The Italian Trill, 1590-1710 28 The German Trill, 1615-1715 29 J. S. Bach's Trill 30 The Italian Trill, 1710-1760 31 The German Trill, 1715-1780 PART VI: THE COMPOUND TRILL Introduction: Turn-Trill, Slide-Trill, Mordent-Trill 32 The French Compound Trill, 168&-1760 33 J. S. Bach s Compound Trill 34 The Italian and German Compound Trill, 1715-1780 PART VII: THE MORDENT Introduction: Types and Designs 36 The Mordent of Couperin and Later Masters, 1710-1780 37 The Italo-German Mordent, 1600-1715 38 J. S. Bach's Mordent 39 The Italian Mordent, 1710-1760 40 The German Mordent, 1715-1765 PART VIII: OTHER SMALL ORNAMENTS 41 The Turn 42 The Zusammenschlag (Acciaccatura) 43 The Anschlag 44 The Arpeggio 45 The Vibrato PART IX: FREE ORNAMENTATION Introduction 46 Free Ornamentation of the French School 47 Free Ornamentation of the Italo-German School in the 17th Century 48 J. S. Bach's Free Ornamentation 49 Free Ornamentation of the Italo-German School, 1700-1775 Postscript: Historical Research and Modern Performance Appendix: Selective Glossary of Terms and Symbols Selective Glossary Of Terms Selected Bibliography Index Introduction. Ornamentation And Structure ; The Categories Of Musical Ornaments ; Historical Performance And The Problem Of Method -- Baroque Trends Of Ornamentation. Italian Developments ; French Developments ; German Developments ; J.s. Bach's Usage -- One-note Graces. Introduction: Vorschlag, Nachschlag, Zwischenschlag, Zusammenschlag ; The French Port De Voix And Coulé: Definition And Character ; Port De Voix And Coulé For Voice And Melody Instruments, 1636-1715 ; Port De Voix And Coulé On The Lute And The Keyboard, 1615-1715 ; Couperin's Ports De Voix And Coulés ; Ports De Voix And Coulé, 1715-1775 ; Accent And Chûte ; Italian One-note Graces, 1590-1710 ; German One-note Graces, 1620-1715 ; J.s. Bach's One-note Graces ; Italian One-note Graces, 1710-1760 ; German One-note Graces, 1715-1765 --^ The Slide. Introduction: Two-note Graces And The Nature Of The Slide ; The French Slide, 1689-1776 ; The Italo-german Slide, 1600-1715 ; J.s. Bach's Slide ; The Italian Slide, 1710-1760 ; The German Slide, 1715-1780 -- The Trill. Introduction: Designs And Terms ; The French Trill, 1630-1715 ; Couperin's Trill ; The French Trill, 1715-1785 ; The Italian Trill, 1590-1710 ; The German Trill, 1615-1715 ; J.s. Bach's Trill ; The Italian Trill, 1710-1760 ; The German Trill, 1715-1780 -- The Compound Trill. Introduction: Turn-trill, Slide-trill, Mordent-trill ; The French Compound Trill, 1685-1760 ; J.s. Bach's Compound Trill ; The Italian And German Compound Trill, 1715-1780 -- The Mordent. Introduction: Types And Designs ; The French Mordent, 1630-1715 ; The Mordent Of Couperin And Later Masters, 1710-1780 ; The Italo-german Mordent, 1600-1715 ; J.s. Bach's Mordent ; The Italian Mordent, 1710-1760 ; The German Mordent, 1715-1765 --^ Other Small Ornaments. The Turn ; The Zusammenschlag (acciaccatura) ; The Anschlag ; The Arpeggio ; The Vibrato -- Free Ornamentation. Free Ornamentation Of The French School ; Free Ornamentation Of The Italo-german School In The 17th Century ; J.s. Bach's Free Ornamentation ; Free Ornamentation Of The Italo-german School, 1700-1775 -- Postscript: Historical Research And Modern Performance. Frederick Neumann. Includes Index. Bibliography: P. [605]-613. "Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and the ambiguities in their notation (as well as their frequent omission in the score) have left doubt as tohow composers intended them to be interpreted"--Back of book In all the fields of baroque art, ornamentation played a conspicuous role.