The Early Violin and Viola: A Practical Guide

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