The Early Violin and Viola: A Practical Guide (Cambridge Handbooks to the Historical Performance of Music)

This practical guide is intended for all violinists and viola players who wish to give - or to understand and appreciate - historically aware performances of early music for their instruments. It comprises discussion of the literature, history and repertory of the violin and viola, the myriad relevant primary sources and their interpretation, and the various aspects of style and technique that combine to make up well-grounded, period performances. It also considers various related family instruments, contains practical advice on the acquisition of appropriate instruments, and offers suggestions for further reading and investigation. Many of the principles outlined are put into practice in case studies of six works composed c.1700–c.1900, the core period which forms this series' principal (though not exclusive) focus. Music by Corelli, Bach, Haydn, Beethoven, Mendelssohn and Brahms is examined with a view to recreating performances as faithful as possible to the composer's original intention. Cover 1 Half-title 3 Series-title 5 Title 7 Copyright 8 Contents 9 Illustrations 12 Preface 15 1 Historical performance in context 19 The seeds of growth 19 The violin and viola literature 21 Period violinists and violists 23 Interpreting the evidence 24 Standards of verity 25 The value of historical performance 26 2 The repertory and principal sources 28 Introduction 28 The emancipation of the violin 28 The mainstream solo violin repertory (c.1700–c.1900): a brief overview 31 The late Baroque 31 Towards Classicism 33 The Romantic era 34 The mainstream solo viola repertory to c.1900: a brief overview 35 Primary sources 36 Principal violin treatises 37 Principal viola treatises 42 Other treatises 43 Surviving instruments, bows and accessories 43 Iconography 45 3 Equipment 46 The violin: origins and early history 46 Early centres of violin making 48 The viola: origins and early history 52 Accessories 53 Strings 53 Chin-rest 55 Mute 56 Shoulder pad 56 The bow: history and development 56 Purchasing an early violin or viola 66 Purchasing a violin/viola bow for early music 67 4 Technique 70 Posture 70 Holding the instrument 72 Placement of the left hand and fingers 74 Positions and shifting 75 Diatonic and chromatic scale fingerings 80 Timbre 82 Vibrato 82 Harmonics 85 Pizzicato 85 Pitch 86 Tuning systems and scordatura 86 Holding the bow 92 Bow strokes and bow management 94 Multiple stopping 99 5 The language of musical style 101 Introduction 101 National idioms and changes in style 101 Specific and extempore ornamentation 103 Rhythmic alteration 108 Affect, rhetoric, and phrasing (general principles) 109 Articulation, accentuation and melodic inflection as constituents of phrasing 111 Tempo and tempo rubato 116 Taste 122 6 Historical awareness in practice 1 – three eighteenth-century case studies: Corelli, Bach and Haydn 124 Corelli: Sonata in A major, Op. 5 no. 9 124 Introduction 124 Text 124 Title and instrumentation 125 Instruments 127 Harpsichord continuo 127 Pitch 128 Bowing and national style 128 Ornamentation and national style 128 Expression 130 Tempo 133 J. S. Bach: Partita no.3 in E major for violin solo, BWV1006 134 Introduction 134 Text 135 Bach and Dance Music 136 Preludio 137 Loure 137 Gavotte en Rondeau 138 Menuet I and II 138 Bourrée 139 Gigue 139 Rhythmic alteration 139 Ornamentation 139 Ornamenting the repeats 140 Articulation and other bowing issues 141 Towards an interpretation: general concerns 145 Haydn: String Quartet in E flat major, Op. 33 no. 2 (Hob. III:38) 147 Introduction 147 Text 148 Instruments 149 Tempo and rhythm 149 Bowing and articulation 150 Phrasing and accentuation 150 Expression 151 Fingering, shifting and tone-colour 152 Ornamentation 153 Quartet placement and seating 156 7 Historical awareness in practice 2 – three nineteenth-century case studies: Beethoven, Mendelssohn and Brahms 157 Beethoven: Sonata in A major for violin and piano, Op. 47 (‘Kreutzer’) 157 Introduction 157 Sources and editions 158 Other sources of information about performance practice 158 Left-hand considerations (violin) 160 Bowing considerations 162 Tempo and tempo rubato 164 Articulation 166 Instruments 167 Dynamics and Expression 167 Ornamentation 168 Mendelssohn: Violin Concerto in E minor, Op. 64 169 Introduction 169 Sources and editions 170 Tempo 171 Style and expression 173 Left-hand considerations (violin) 176 Some bowing issues 178 Brahms: Sonata in E flat major, Op. 120 no. 2 for piano and viola (clarinet) 182 Introduction 182 Text and editions 182 Instruments 183 Tempo 184 Tempo modification 185 Articulation, phrasing and expression 186 Portamento 188 Vibrato 188 8 Related family members 190 Notes 198 Preface 198 1 Historical performance in context 198 2 The repertory and principal sources 200 3 Equipment 202 4 Technique 206 5 The language of musical style 210 6 Historical awareness in practice 1 – three eighteenth-century case studies: Corelli, Bach and Haydn 217 Corelli: Sonata in A Op. 5 no. 9 217 J. S. Bach: Partita No. 3 in E major, BWV 1006 219 Haydn: String Quartet in E flat major, Op. 33 no. 2 221 7 Historical awareness in practice 2 – three nineteenth-century case studies: Beethoven, Mendelssohn and Brahms 222 Beethoven: Sonata in A, Op. 47 (‘Kreutzer’) 222 Mendelssohn: Violin Concerto, Op. 64 225 Brahms: Sonata, Op. 120 no. 2 226 8 Related family members 228 Select bibliography 231 Pre-1900 231 Post-1900 234 Index 242 Cover......Page 1 Half-title......Page 3 Series-title......Page 5 Title......Page 7 Copyright......Page 8 Contents......Page 9 Illustrations......Page 12 Preface......Page 15 The seeds of growth......Page 19 The violin and viola literature......Page 21 Period violinists and violists......Page 23 Interpreting the evidence......Page 24 Standards of verity......Page 25 The value of historical performance......Page 26 The emancipation of the violin......Page 28 The late Baroque......Page 31 Towards Classicism......Page 33 The Romantic era......Page 34 The mainstream solo viola repertory to c.1900: a brief overview......Page 35 Primary sources......Page 36 Principal violin treatises......Page 37 Principal viola treatises......Page 42 Surviving instruments, bows and accessories......Page 43 Iconography......Page 45 The violin: origins and early history......Page 46 Early centres of violin making......Page 48 The viola: origins and early history......Page 52 Strings......Page 53 Chin-rest......Page 55 The bow: history and development......Page 56 Purchasing an early violin or viola......Page 66 Purchasing a violin/viola bow for early music......Page 67 Posture......Page 70 Holding the instrument......Page 72 Placement of the left hand and fingers......Page 74 Positions and shifting......Page 75 Diatonic and chromatic scale fingerings......Page 80 Vibrato......Page 82 Pizzicato......Page 85 Tuning systems and scordatura......Page 86 Holding the bow......Page 92 Bow strokes and bow management......Page 94 Multiple stopping......Page 99 National idioms and changes in style......Page 101 Specific and extempore ornamentation......Page 103 Rhythmic alteration......Page 108 Affect, rhetoric, and phrasing (general principles)......Page 109 Articulation, accentuation and melodic inflection as constituents of phrasing......Page 111 Tempo and tempo rubato......Page 116 Taste......Page 122 Text......Page 124 Title and instrumentation......Page 125 Harpsichord continuo......Page 127 Ornamentation and national style......Page 128 Expression......Page 130 Tempo......Page 133 Introduction......Page 134 Text......Page 135 Bach and Dance Music......Page 136 Loure......Page 137 Menuet I and II......Page 138 Ornamentation......Page 139 Ornamenting the repeats......Page 140 Articulation and other bowing issues......Page 141 Towards an interpretation: general concerns......Page 145 Introduction......Page 147 Text......Page 148 Tempo and rhythm......Page 149 Phrasing and accentuation......Page 150 Expression......Page 151 Fingering, shifting and tone-colour......Page 152 Ornamentation......Page 153 Quartet placement and seating......Page 156 Introduction......Page 157 Other sources of information about performance practice......Page 158 Left-hand considerations (violin)......Page 160 Bowing considerations......Page 162 Tempo and tempo rubato......Page 164 Articulation......Page 166 Dynamics and Expression......Page 167 Ornamentation......Page 168 Introduction......Page 169 Sources and editions......Page 170 Tempo......Page 171 Style and expression......Page 173 Left-hand considerations (violin)......Page 176 Some bowing issues......Page 178 Text and editions......Page 182 Instruments......Page 183 Tempo......Page 184 Tempo modification......Page 185 Articulation, phrasing and expression......Page 186 Vibrato......Page 188 8 Related family members......Page 190 1 Historical performance in context......Page 198 2 The repertory and principal sources......Page 200 3 Equipment......Page 202 4 Technique......Page 206 5 The language of musical style......Page 210 Corelli: Sonata in A Op. 5 no. 9......Page 217 J. S. Bach: Partita No. 3 in E major, BWV 1006......Page 219 Haydn: String Quartet in E flat major, Op. 33 no. 2......Page 221 Beethoven: Sonata in A, Op. 47 (‘Kreutzer’)......Page 222 Mendelssohn: Violin Concerto, Op. 64......Page 225 Brahms: Sonata, Op. 120 no. 2......Page 226 8 Related family members......Page 228 Pre-1900......Page 231 Post-1900......Page 234 Index......Page 242 This Practical Guide Is Intended For All Violinists And Viola Players Who Wish To Give - Or To Understand And Appreciate - Historically Aware Performances Of Early Music For Their Instruments. It Comprises Discussion Of The Literature, History And Repertory Of The Violin And Viola, The Myriad Relevant Primary Sources And Their Interpretation, And The Various Aspects Of Style And Technique That Combine To Make Up Well-grounded, Period Performances. It Also Considers Various Related Instruments, Contains Practical Advice On The Acquisition Of Appropriate Instruments, And Offers Suggestions For Further Reading And Investigation. Many Of The Principles Outlined Are Put Into Practice In Case Studies Of Six Works Composed From About 1700 To 1900, The Core Period Which Forms This Series' Principal (though Not Exclusive) Focus. Music By Corelli, Bach, Haydn, Beethoven, Mendelssohn And Brahms Is Examined With A View To Recreating Performances As Faithful As Possible To The Composer's Original Intent.--publisher's Description. Historical Performance In Context -- The Repertory And Principal Sources -- Equipment -- Technique -- The Language Of Musical Style -- Historical Awareness In Practice 1, Three Eighteenth-century Case Studies: Corelli, Bach And Haydn -- Historical Awareness In Practice 2, Three Nineteenth-century Case Studies: Beethoven, Mendelssohn And Brahms -- Related Family Members. Robin Stowell. Includes Bibliographical References (p. 213-223) And Index. This handbook provides a historical account of the development of the violin, viola and their close relatives as well as a practical guide to playing techniques and principles of interpretation. It aims to help performers to play in a historically appropriate style and to guide listeners toward a clearer understanding of the issues that affected string performance during this series' core period (c.1700-c.1900). Its six detailed case studies, which include Bach and Beethoven, will assist readers in forging well-grounded, period interpretations of major works from the repertory. This handbook provides an historical account of the development of the violin, viola and their close relatives, as well as a practical guide to playing techniques and principles of interpretation. Its six detailed case studies will assist readers in forging well-grounded, period interpretations of major works from the repertory