Vocal vibrato in the interpretation of vocal music of the baroque epoch

The purpose of the article. The article examines an important component of the performance of baroque works – vocal vibrato, which often becomes an obstacle to the historically informed performance. A scholarly work that draws on a historical context outlines guidelines regarding the appropriateness of the use of vibrato. The methodology is based on the application of observation, generalization, modeling, and analysis using the historical and logical method. The indicated approach allows us to consider, generalize and summarize information about vocal vibrato, which can be useful both for students and teachers of academic singing and for performers who are looking for answers to questions regarding mastering baroque vocal forms and techniques. The scientific novelty consists in the fact that the data on the vocal vibrato is systematized and analyzed based on historical sources, research by leading foreign art historians, as well as on recordings of ancient works. Highlighted important questions concerning the appropriateness of using vibrato in baroque music. Conclusions. When mastering the vocal techniques for performing musical works of the Baroque era, vibrato issues occupy one of the main places. The use or limitation of this characteristic of the voice must be considered from the point of view of the historical context of the works performed, as well as their content. In addition to high-level technical training, the intellectual qualities, the ability to think analytically, erudition, and musical taste of the performer play an important role. Keywords: vibrato, baroque music, historically informed performance, ornamentation.

Bach and the Soprano Voice

The chapter begins with a simple question: given the fact that Bach’s music for sopranos was composed almost exclusively for boys, why have early music practitioners—including those endorsed in 2018 by the Bach Leipzig Archive—become so accustomed to using female sopranos? Taking account both of the rhetorical strategies that Bach uses in a representative group of soprano arias (choice of affect, use of topoi, scoring, and vocal writing) and the use of female sopranos in this repertory in concert, radio, and recordings since the nineteenth-century revival, this chapter proposes that Bach imbued his soprano arias with an intrinsic sense of femininity—passion, optimism, desire, compliance, modesty, and submission—that was central to his expression of Lutheran theology and that emerges as no less vital for listeners, even long after the original theological context had lost its relevance. The chapter also shows how Bach’s unacknowledged capacity for representing female subjectivity has influenced even the most historically informed performance practices.

Anne Smith, Ina Lohr (1903-1983). Transcending the Boundaries of Early Music

This is a book that had to be written. And that is meant in a thoroughly positive way. Ina Lohr, ‘Paul Sacher's assistant’, is a well-known figure in insider circles, who contributed immensely to the creation of the Schola Cantorum Basiliensis, one of the most important international teaching institutions for Early Music and historically informed performance practice. Lohr made a significant contribution to the emergence of the Basel Chamber Orchestra, which made a name for itself not only in Early Music but also, through regular commissions from the Sacher-family, in the field of New Music as yet another unique Basel contribution to the international music life. However, the exact nature of the contributions of Lohr is not entirely clear even to locals and insiders who did have the privilege of meeting her themselves. Especially, her own compositional activity has so far been carefully left out of the prevailing ‘image’ of the conservatively dressed and coiffed Lohr who taught ‘house music courses’ (the name of teacher training at the time).

‘POST-HIP’: NEW MUSIC FOR OLD INSTRUMENTS IN THE TWENTY-FIRST CENTURY

This article explores an emergent vanguard of the ‘historically informed performance’ (HIP) movement in the twenty-first century, focusing on new music written for, and performed on, historical instruments. Drawing on musicological and journalistic writing, as well as first-hand interviews with artists working in the scene, discussion is centred around the work of three key practitioners: the lutenist Jozef van Wissem, gambist Liam Byrne and baroque violinist Halla Steinunn Stefánsdóttir. Finally, an attempt is made to situate the scene, both in relation to earlier revivalist practice and to broader cultural trends, drawing, in particular, on notions of ‘retromania’, post-internet and post-postmodernist practice.

Recreating the Beatles

Beatles tributes come in many forms and guises, but look-alikes are arguably the most popular type. Because of their focus on replicating the band’s iconic costumes and hairdo, they usually limit themselves to an easily reproducible core repertoire, forgoing the elaborate post-1966 studio productions. By contrast, sound-alikes strive for complete aural accurateness, often recreating the heavily produced compositions the Beatles never performed outside of the studio. One of the industry’s top-tier Beatles sound-alikes are the Analogues. Neglecting all mimetic visual effects, they re-animate the albums created after 1966, using the same orchestrations and instrumentations as the Beatles, including rare vintage instruments such as the Mellotron. Their approach bears parallels to historically informed performance (HIP), a common practice in Early Music, yet it operates within an entirely different framework. Informed by sound recordings, the Analogues deconstruct and re-record the Beatles’ music to construct their own performance, in the process conceiving a modern technology-based type of HIP. This article begins by establishing a typology of Beatles tributes before examining the process of staging an Analogues performance. It argues that the Analogues’ approach to historical recreation allows them to transcend criticism typically aimed at tributes and, paradoxically, lay claim to an “authentic” performance of what is inherently inauthentic, a live imitation of a recording. Overall, this article demonstrates how HIP can be used effectively outside of its mainstream classical context as a tool for popular music researchers and performers.

Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture

This chapter examines historical presentational practices of sound film and, specifically, the extra music added to roadshow versions of films between the 1930s and 1960s—including Gone with the Wind, West Side Story, It’s a Mad Mad Mad Mad World, and 2001: A Space Odyssey. It argues that such added music—which included overtures, intermission, entr’acte, and exit music—when combined with controlled theatrical lighting and use of the curtain, might have prompted a number of different cinematic listening experiences among audiences. It suggests that an understanding of these historical presentational practices might call into question comfortable assumptions about the nature of sound-film ontology and the relationship between cinema as “Text” and cinema as “Event”—issues that resonate with the discourse surrounding historically informed performance (HIP) practice in musicology.

INTERPRETATIONAL MODEL OF PARTES COMPOSITIONS AS A TOOL FOR REPRODUCING THE PARTES HERITAGE IN THE REALITIES OF MODERN CULTURE

The subject of the research is the interpretative model of a partes work in the context of modern performing practice. The aim of the research is to form the style-defining components of a performance of a partes work, based on the principles of historically informed performance and practical experience of modern choirmasters, as well as the formation of a holistic model of interpretation – a tool for creating and analyzing individual performance versions. The research methodology is based on a combination of analysis and synthesis methods, the discovery of style-defining components of performance is carried out through comparative analysis, the statistical method is used when working with individual interpretative models of domestic choirmasters. The result of the study is an interpretative model of the partes work presented in the form of a cyclic matrix. The results of this study can be used in modern performing practices, in training courses on early music in specialized educational institutions, and in modern art to deepen knowledge in the field of Ukrainian baroque music. In conclusion, it was found that the main style-defining components of the model are an affect, lyrics, vocal style, and the performers. Each of the components of the model determines the embodiment of the next one and can be realized only within the aesthetic and stylistic category of "high style".Keywords: partes works, partes style, historically informed performance, interpretive model, Ukrainian performing culture at the turn of the XX–XXI centuries.

Renewable Early Music

In the past few decades there have been major changes to historically informed performance practice. Early music departments have appeared in conservatories worldwide, where one can study early music on period instruments according to extant performance sources. Despite historically informed performance practice being well-known and well-acknowledged, no course has been offered thus far by Hungarian conservatories, resulting in the phenomena of young professionals with bachelor and/or master degrees but with only scarce awareness of this practice. This essay provides readers with the basic notions of early music performance, emphasizing the particular mentality shaping its theoretical foundation. Keywords: early music, historical performance, early music department

Heinrich Ignaz Franz Biber

During his lifetime, Heinrich Ignaz Franz Biber von Bibern (b. 1644–d. 1704) was widely recognized as one of the foremost performers on the violin, and his published instrumental music helped spread his reputation, though he was criticized by some of his contemporaries for his extravagant technique and use of scordatura. Charles Burney’s comment in his 1789 General History of Music that “of all the violin players of the last century, Biber seems to have been the best, and his solos are the most difficult and most fanciful of any Music I have seen of the same period” was most likely based only on a visual examination of the original print of Biber’s 1681 violin sonatas. Aside from a few specialized studies by Guido Adler, Paul Nettl, and others, and four acknowledged works published in the Denkmäler der Tonkunst in Österreich (two collections of music for solo violin, a mass, and a Requiem), Biber’s music was little known until the 1940s. Modern editions of the other instrumental and sacred music, both published and in manuscript, along with critical studies of both his sacred and secular compositions have significantly enhanced the appreciation of Biber’s compositional creativity. Performances of Biber’s music have also steadily increased along with the “Historically Informed Performance” movement. Since Susanne Lautenbacher’s recording of the “Mystery” Sonatas was released in 1962, there have been a further thirty-four recordings and many of Biber’s other instrumental collections now have multiple recordings available, and even the Missa Salisburgensis has been released on six recordings and two DVDs.