The Performance of Basso Continuo in Italian Baroque Music

Notes ◽  
1989 ◽  
Vol 45 (3) ◽  
pp. 502
Author(s):  
Kent Underwood ◽  
Tharald Borgir ◽  
Nigel North
Keyword(s):  
Basso Continuo ◽  
Baroque Music

scholarly journals Performance Composition of Johann Sebastian Bach’s Motets: Hypotheses and Discussions

2021 ◽  
pp. 198-208
Author(s):  
Dmytro Savon
Keyword(s):  
Historical Context ◽  
A Cappella ◽  
German Language ◽  
Basso Continuo ◽  
Original Musical ◽  
Baroque Music ◽  
Long Time ◽  
Source Studies ◽  
History Of ◽  
Limited Opportunity

Relevance and scientific novelty of the selected topic of the research. The issues of the performance of J. S. Bach's motets has not been considered in Ukrainian musicology before, and in creative practice it has been decided unequivocally: choirs sang motets a cappella. However, in the world practice of motets today there are three variants of performance: in addition to singing unaccompanied, motets are performed with basso continuo (organ), as well as with basso continuo accompanied by instruments that duplicate choral parts (colla parte). The revision of performance approaches in world concert practice took place in parallel and, apparently, due to scientific achievements in the history of music, source studies and related fields. Cognitive was the discussion of the performance of Bach's motets, which for a long time (since 1904) unfolded in the Germanspeaking musicological environment. A thorough analysis of the historical context, the text of the motets, the connection with the performing practice, and on the other hand — the limited opportunity to get acquainted with German-language materials determine the relevance of this article, which systematizes the arguments and counterarguments of this controversy. The aim of the article is to consider the arguments of German scientists (Konrad Ameln, Klaus Hofmann, Alfred Heuss and others) on the tradition of performances of motets by J. S. Bach, to draw the attention of the performing and scientific community to the possibility of the existence of different versions of the performing composition in these works; emphasize the need for a performing search in the field of baroque music, in particular, in those aspects, which in the classicalromantic tradition are considered unambiguously fixed in the musical text. The following methods were used in the study: historical (analysed the dynamics of changes in the performing tradition of Bach's motets), the method of generalization (based on the study of musicological literature generalized arguments in favour of three types of performing motets). Main results and conclusions. Based on the analysis of information from German-language musicological research, it is stated that in the time of Bach there were three types of performance for his motets: 1) a cappella, 2) with basso continuo, 3) with basso continuo and instruments colla parte. Arguments for each type are systematized depending on whether they come from the study of historical context (external) or based on the study of the original musical text of motets (internal). It is noted that the plurality of variants of the performance composition allowed in today's practice should be realized by the conductor, who should not unconditionally accept the performance version proposed in the motets edition as the only correct one. The choice of performance is made by the conductor depending on the specifics of the performance situation.

scholarly journals Handel's use of plucked instruments

2013 ◽  
Vol 5 (2) ◽  
Author(s):  
Orlando Fraga
Keyword(s):  
18Th Century ◽  
Early Period ◽  
Vocal Music ◽  
17Th Century ◽  
Basso Continuo ◽  
Instrumental Color ◽  
Baroque Music ◽  
The Subject ◽  
Vocal Works ◽  
Early 18Th Century

Three central features of Baroque music encompass a large portion of questions about the performance of this particular repertory: its improvisatory aspect, the use of basso continuo, and the instrumental color and variety. Teorbo and lute solos, aside of playing a role as a continuo, filled in the intermissions of oratorios in Italy since late 17th century, while organ concertos provided the same function for English oratorios in the early 18th century. It is from Handel's early period ‒ his first trip to Italy in 1707 ‒ that teorbo and archiliuto start to appear in his vocal music. Handel employed either the teorbo or archiliuto (or simply liuto) in twelve vocal works and in one instrumental Ouverture.  A complete examination of the circumstances that involve this particular aspect of Handel's music is the subject this paper.  

scholarly journals G. Ph. Telemann’s Concertos for Four Violins withoutbassocontinuoin the aspect of onomatopoeic and figurative rhetoric

2021 ◽  
Vol 24 (24) ◽  
pp. 54-70
Author(s):  
Kholodkova Olena
Keyword(s):  
Traditional Approach ◽  
Musical Piece ◽  
Basso Continuo ◽  
Rhetorical Figures ◽  
Musical Rhetoric ◽  
Baroque Music ◽  
Comprehensive Level ◽  
Level Of Understanding ◽  
Tacit Belief ◽  
Melodic Motion

Statement of the problem. In musicology there has long been a tacit belief that Baroque music is the music of rhetoric, rhetorical figures and affects. In Baroque aesthetics, rhetoric, which is an important element of Baroque poetics, is perceived as an integral part of the content of a musical piece that together with form, harmony, counterpoint and musical expression form its integral substance. The study of Baroque music from the perspective of the rhetorical aspect gives a clearer comprehension of the work, understanding the context, and the competent interpretation of the composer’s idea. Analysis of recent research and publication. The theoretical assumptions of this article are based both on historical treatises (M. Praetorius, Ch. Bernhard, J. Mattheson) and authoritative works of researchers who studied theoretical issues of historically informed performance of the late XX – early XXI century (D. Bartel, L. Dreyfus), including relatively new works (M. Zgółka, P. Zawistowski, A. Mocek). M. Zgółka (2016) adopts a rather traditional approach to rhetoric, which operates with rhetorical figures and affects, and at the same time offers an innovative division of rhetoric into three varieties. Referring to the most important treatises L. Dreyfus (2004) makes us think about the relevance of making parallels between oratory and musical rhetoric highlighting common features and differences. A. Mocek’s (2019) view on musical rhetoric and on the studies devoted to it is quite critical. The main objective of the study is to examine G. Ph. Telemann’s Concertos for Four Violins without basso continuo from the perspective of figurative and onomatopoeic rhetoric. The scientific novelty. In this research for the first time, Telemann’s Concertos were analyzed from the perspective of onomatopoeic and figurative rhetoric. The concept of division of rhetoric into three categories (onomatopoeic, figurative, symbolically mystical) was proposed by the Polish violinist and theorist M. Zgółka (2016). The author uses the following methods in this research: historical, typological, comparative and structural-functional analysis. Results. The analysis of four concertos demonstrates that G. Ph. Telemann uses not only figurative type of rhetoric but also onomatopoeic, successfully combining these two categories. In comparison with, for example, A. Vivaldi or H. I. F. von Biber, the palette of sound imitative techniques in the concertos of G. Ph. Telemann is not so diverse and comprehensive, however, elements of onomatopoeic rhetoric can be found both in fast and slow movements: sound of organ or bells as well as sound images of nature. The composer does not refuse from the elements of figurative rhetoric. Like in his duo sonatas, these are mainly represented by figures that describe a melodic motion. Such techniques are often found in polyphonic quick movements. In the lyrical slow movements, similarly to the duo sonatas, harmony, polyphony and intervals are brought to the fore. Conclusions. G. Ph. Telemann’s cycle of Concertos for Four Violins without continuo is an interesting example of chamber music not only in terms of composition but also from the view point of the usage and combination of various types of musical rhetoric. Knowledge of the rhetorical component brings researchers and performers to a new, more comprehensive level of understanding of the composer’s music, allowing us to consider the emotional content not only of the work as a whole, but also of each single intonation.

“A song without words” op. 9 no. 3 by Yakiv Stepovyi: features of intonation development and interpretation

2020 ◽  
Vol 1(16) (2020) ◽  
pp. 26-32
Author(s):  
Tetіana Kryvytska ◽  
◽  
Svitlana Panasyuk ◽  
Keyword(s):  
Interpretive Analysis ◽  
Baroque Music ◽  
Artistic Image

Purpose of Article. The purpose of the work is to reveal the intonation and interpretive features of “Songs Without Words” op. 9 No. 3 by Yakiv Stepovyi. Methodology. The methodology of the research is based on the complex application operations of genre, stylistic, intonation and interpretive analysis. Scientific Novelty. The scientific novelty of the research is to determine the genre-style genesis of the little-known the composition, but indicative for the composerʼs style. Author describes his characteristic intonation features and properties. He pays attention to the performing technique. Conclusions. The author of the study proved that “A Song Without Words” op. 9 No. 3 by Yakiv Stepovyi continues the traditions of F. Mendelssohn-Bartholdy, M. Lysenko, A. Lyadov, O. Scriabin, F. Chopin. This piece is full of Ukrainian song and romance intonations. It contains allusions to the works of F. List and F. Chopin. Author introduces the intonations of lira music, folk group singing, baroque music. The composer revealed these properties of the artistic image with the help of gamma, figuration and chord technique of pianism.

Madrigals, Part 5

10.31022/b222 ◽  
2021 ◽  
Author(s):  
Marco da Gagliano
Keyword(s):  
Basso Continuo ◽  
Professional Singers ◽  
Giambattista Marino ◽  
Medici Court

Marco da Gagliano's Quinto libro de madrigali a cinque voci was published in October 1608, a little less than two years after his previous book. It contains fourteen madrigals for five voices and one for seven, all composed by Gagliano. The poets represented include Giambattista Marino, Giovanbattista Strozzi, both the older and the younger, Cosimo Galletti, and Ottavio Rinuccini. The madrigals of book 5 are quite varied in their style and their treatment of text. Many are light and remarkably concise, like the canzonetta-influenced madrigals of the Quarto libro, and most often set text syllabically to shorter rhythmic values in motives that alternate between homophony (or near homophony) and polyphony, imitative or nonimitative. Some, however, set poetry very differently. A three-part setting of a Marino sonnet, for instance, is filled with virtuoso melisma, probably intended for the professional singers of the Medici court. Book 5 also includes a concertato madrigal for seven singers and basso continuo that bears the prescriptive direction “per cantare e sonare” (for voices and instruments) in the basso partbook. Although there is no notational indication of instruments, the basso part lacks text for several measures, and it is likely that it was performed with improvised chords on an instrument. The book also contains two threnodies for Count Cammillo della Gheradesca that are in a somber and more traditional polyphony and contrast with the rest of the book's contents.

Sonatas for Violin and Basso continuo, Part 3

10.31022/b010 ◽  
1970 ◽  
Author(s):  
Jean-Marie Leclair
Keyword(s):  
Basso Continuo

Leclair's opus 9 sonatas are some of Leclair's most technically advanced works for violin and continuo.

THE INFLUENCE OF TANEYEV’S STYLISTIC PRINCIPLES ON RUSSIAN CHORAL MUSIC OF THE XXTH CENTURY

2020 ◽  
Vol 1 (2) ◽  
pp. 75-80
Author(s):  
V. P. Tereshchenko ◽  
Keyword(s):  
Choral Music ◽  
Compositional Style ◽  
Rational Approach ◽  
A Cappella ◽  
Unique Combination ◽  
Xxth Century ◽  
Leading Role ◽  
Baroque Music ◽  
Special Area

The article touches upon the unique combination of Taneyev’s stylistic principles, which consists in an organic synthesis of protective and innovative features. Taneyev consciously turns to the polyphony of strictly writing, Baroque music and Viennese classicism in forming his own individual compositional style. The paradox is that Taneyev acted as an innovator who foresaw a vision for the future of music through the prism of the distant past. Stylistic principles such as historicism of thinking, rational approach to creativity and leading role of counterpoint forms became the basis of new trends in music art of the XXth century. A special area of the composer's innovative achievements is choral music. Taneyev founded of a number of genre trends that developed in the XXth century, among them a lyrical-philosophical cantata, "spiritual concert" vocal-instrumental and symphonic music, a choral a cappella cycle to secular text.

Sign in / Sign up

Export Citation Format

Share Document