Walter S. Reiter (Professor of Baroque Professor of Baroque Violin

The Baroque Violin & Viola, vol. II

A Fifty-Lesson Course

• Broschiertes Buch

Produktbeschreibung

A groundbreaking pedagogical work, The Baroque Violin & Viola, Volume II: A Fifty-Lesson Course blends Walter Reiter's experience as a renowned teacher and performer to guide the reader through the techniques and interpretive complexities of the Baroque violin repertory.

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Produktdetails

• Verlag: Oxford University Press Inc
• Seitenzahl: 360
• Erscheinungstermin: 10. Dezember 2020
• Englisch
• Abmessung: 277mm x 212mm x 25mm
• Gewicht: 882g
• ISBN-13: 9780197525128
• ISBN-10: 0197525121
• Artikelnr.: 59259789

Autorenporträt

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.

Inhaltsangabe

* Foreword
* Introductory quotes
* Questions and Answers
* Part Three
* Approaching the Early Seventeenth Century Italian Sonata
* Lesson Twenty-Four. Stepping Back in Time: Division Manuals
1535-1624. Ornamentation, Module Two
* Divisions - Learning to Dare: Developing Basic Improvisational Skills
- Sylvestro Ganassi's 'Fontegara' (Venice, 1535) - Studying Divisions
from Ganassi's 'Fontegara' - Learning to Read Sixteenth and
Seventeenth-century Music from Facsimiles - Note Values - Giovanni
Bassano: 'Ricercate, passaggi et cadentie,' (Venice 1585) - Cadences
- Aurelio Virgiliano: 'Regole Della Diminutione' (c 1600) - G. B.
Spadi: 'Libro de passaggi ascendenti e descendenti' (Venice, 1624).
* A Florentine Interlude. Towards 'The New Music:' from Plato to
Caccini
* Lesson Twenty-Five. The Noble Manner of Singing: Caccini's 'Le Nuove
Musiche' (1602)
* Passaggi - Three ways to Sing a Note - The Intonatio - Con Grazia -
The Esclamazione - Transferring Caccini's 'Cor mio, deh! non
languire' to the Violin - The Trillo and the Gruppo - Transferring
the Vocal Trillo to the Violin - The Gruppo - Transferring the Vocal
Gruppo to the Violin - Rhythmic Alteration - Transferring the Vocal
Cascata to the Violin - Sprezzatura - Transferring Caccini's 'Deh,
dove son fuggiti' to the Violin.
* Lesson Twenty-Six. A Lesson from Francesco Rognoni Taeggio: Applying
Vocal Technique to the Violin
* El Portar della Voce - The Accento - The Tremolo - The Groppo - Del
principiar sotto la nota - The Esclamatione - La Selva, Part Two -
Francesco Rognoni's 'Way of slurring' -
* Lesson Twenty-Seven. Giovanni Battista Fontana (1589 (?) - 1630)
Sonata Terza
* The Tactus - Reading this Sonata in the Original Notation Clefs -
Rests - Coloration - Tempo Relationships and Proportional Notation.
* Lesson Twenty-Eight. Dario Castello: Sonata Prima, for Soprano Solo
* Lesson Twenty-Nine. Giovanni Antonio Pandolfi Mealli: Sonata Quarta
Opus 4, La Biancuccia
* 'Stylus Phantasticus' - Musica Ficta.
* Lesson Thirty: Ornamentation, Module Three, including Tables of
Ornaments Derived from the Sonatas of Corelli and Babell
* A Roman Interlude: Transforming Visual Gestures into Sound
* Part Four
* Church Militant: The Sonatas of Schmelzer and Biber
* Lesson Thirty-One. Johann Heinrich Schmelzer: Sonata Quarta from
'Sonatae unarum fidium' (1664)
* Lesson Thirty-Two. Heinrich Ignaz Franz von Biber: the Mystery
Sonatas. Sonata No 1: the Annunciation
* The Mystery Sonatas: an Introduction - Reference to the Texts.
* Lesson Thirty-Three. Heinrich Ignaz Franz von Biber: the Mystery
Sonatas. Sonata No 10: The Crucifixion
* Scordatura - Symbolism and the Jesuits - The Rhetorical Fragments
Described.
* Part Five
* Supreme Refinement of the Human Spirit
* François Couperin and the Music of France
* Interlude in Versailles: Approaching the Music of the French Baroque
* The Sun King and the Culture of Versailles - The Social Status of the
Violin in France.
* Lesson Thirty-Four. The 'Concerts Royaux' of François Couperin.
Ornamentation, Module Four
* The 'Concerts Royaux,' an Introduction - Couperin's Agrémens, as
found in the Septiéme Concert Royal - The Tremblement - The Pincé -
The Port de voix - The Tierce de coulé - The comma (petit silence) -
Notes inégales - Slurs - Pitch - Addendum: The Doublé - The
Aspiration - The Suspension.
* Lesson Thirty-Five. To Soothe the Sorrows of a King. François
Couperin: Septiéme Concert Royal (I)
* Movement One (no title) - Allemande, Gayement - Postscript: Dynamic
and Rhythmical inégalité, a Personal View.
* Lesson Thirty-Six. François Couperin: Septiéme Concert Royal (II)
* Sarabande Grave - Georg Muffat on Lully's Bowings.
* Lesson Thirty-Seven. François Couperin: Septiéme Concert Royal (III)
* Fuguéte - Gavote - Siciliéne.
* Part Six
* Approaching the Galant
* Lesson Thirty-Eight. Beyond 'Beautiful': Searching for Meaning in
Music. Handel: Sonata in A Major
* Beautiful Sights and Beautiful Sounds - Handel and Mattheson - Der
Vollkommene Capellmeister - Identifying Affects in the Handel Sonata
Movement - Punctuation.
* Lesson Thirty-Nine. Into the Galant: Tartini, Telemann, Quantz and
Zuccari. Ornamentation Module Five
* Tartini: Grace notes - Trills - Vibrato (Tremolo) - The Turn - The
Mordent - Cadences. Telemann's Methodical Sonatas. Telemann's
Ornaments: Rising and falling appoggiaturas - Trills - Passing notes
- Harmonising ornaments - Turns - Rhythmic variation - Ornamented
Cadences - Tiratas. Quantz - A Lesson from the Master: Quantz's
Notated Adagio - Zuccari.
* Part Seven
* J.S. Bach
* Lesson Forty. A Brief History of Baroque Romanticism: Bach's 'Sei
Solo'
* Lesson Forty-One. Johann Sebastian Bach, Sonata I, BWV 1001. Adagio
* Bach's Written-out Ornamentation - The Necessity of Illusion - A
Controversial Note - Afterthought.
* Lesson Forty-Two. Johann Sebastian Bach, Sonata I, BWV 1001. Fuga
* A Note on Resonance
* Lesson Forty-Three. Johann Sebastian Bach, Sonata I, BWV 1001.
Siciliana
* Hooked Bowings
* Lesson Forty-Four. Johann Sebastian Bach, Sonata I, BWV 1001. Presto
* Bach and Rhetoric - On Slow practice.
* Lesson Forty-Five. Intonation in Bach's 'Sei Solo.'
* The Training of the Ear - Intonation Analysis - Learning to hear
quickly - The Training of the Left Hand - Playing Chords: the Left
Hand
* Lesson Forty-Six. Johann Sebastian Bach, Partita III in E Major, BWV
1006. Preludio
* Interlude: Bach and the Influence of French Culture in the German
Lands
* Bach and Dance
* Lesson Forty-Seven. Johann Sebastian Bach: Partita III in E Major,
BWV 1006
* Loure
* Tempo and Bowings in Bach's Loure - Punctuation and Articulation in
Dance Movements - Punctuation and Articulation in Bach's Loure -
Ornamentation in Bach's Dances.
* Lesson Forty-Eight. Johann Sebastian Bach. Partita III in E Major,
BWV 1006. Gavotte en Rondeaux
* Lesson Forty-Nine. Johann Sebastian Bach. Partita III in E Major, BWV
1006. Minuets I and II
* Lesson Fifty. Johann Sebastian. Bach. Partita III in E Major, BWV
1006. Bourée and Giga
* Notes to Lessons
* Bibliography
* Index
* Acknowledgements