By Robin Stowell
This instruction manual presents a old account of the improvement of the violin, viola and their shut kinfolk in addition to a realistic advisor to taking part in suggestions and ideas of interpretation. It goals to assist performers to play in a traditionally acceptable variety and to lead listeners towards a clearer figuring out of the problems that affected string functionality in this sequence' center interval (c.1700-c.1900). Its six unique case stories, which come with Bach and Beethoven, will help readers in forging well-grounded, interval interpretations of significant works from the repertory.
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Extra info for The Early Violin and Viola: A Practical Guide
1600 and the more expressive, soloistic requirements of the time resulted in the violin’s increased social esteem and artistic credibility; it began to be used in mixed or ‘broken’ consorts (with winds, keyboards and hand-plucked instruments) ﬁrst in Italy and later in aristocratic households in England. Developments in Italy also involved the violin in contrapuntal 28 29 Fig. 1 Members of the violin family and related instruments as illustrated by Michael Praetorius in his Sciagraphia (Wolfenbüttel, 1620): 1 and 2.
Many earlyseventeenth-century models were probably quite short (c. 32 They were usually convex and the narrow skein of horsehair was strung at ﬁxed tension between the pointed head (in some cases there was no distinct head, 39 the hair merely meeting the stick in a point) and the immovable hornshaped nut at the lower end of the stick. Few examples of seventeenth-century bows have survived, but iconographical evidence suggests that fashions in bow-types related directly to musical tastes and requirements.
Although these treatises were prepared largely for academicians and tended to explain the rules and aesthetics of composition, to provide inventories or descriptions of existing (or at least of theoretically possible) instruments, or to discuss mathematical and somewhat idealised historical aspects of music, they nonetheless oﬀer occasional clues regarding interpretative issues or other aspects of performance practice such as tuning or pitch. 32 Treatises on orchestration33 and conducting34 have also proved invaluable works of reference regarding the technique and potential of orchestral instruments, orchestral placement and other performance details.