The Baroque Violin & Viola

Reiter's timely and immensely usable new oeuvre will certainly be an important tool for Baroque string players and their students as well as a powerful reference for modern violinists and viola players who wish to give eloquence and understanding to the glorious string repertory of the 17th and 18th centuries.

Auteur
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 Conservatoire of The Hague in the Netherlands.

Texte du rabat

A groundbreaking pedagogical work, The Baroque Violin & Viola, Volume I: 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.

Résumé
A groundbreaking pedagogical work, The Baroque Violin & Viola, Volume I: 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.

Contenu

• Foreword

• Introductory quotes

• Questions and Answers

• Part One

• The Basics

• Lesson One. Prelude

• Choosing a Violin - Choosing a Bow - Strings - Pitch.

• Lesson Two. Holding the violin

• How to hold the Baroque violin: a beginner's guide.

• Lesson Three. The Bow, Creator of Sound

• Holding the Bow.

• Lesson Four. First Sounds: Celebrating our Vocal Heritage

• Searching for our Vocal Roots - Exploring the Rhythm of words - Postscript.

• Lesson Five. Copying the Human Voice: Sweelinck's Garrulous Little Swallow

• Vowels - Dipthongs - Consonants - Double Consonants - Bowings - Postscript.

• Lesson Six. Five Exercises to Help Accustom You to 'Chinless' Playing

• Recalling These Exercises in a Performance Situation - Technical Factors - Emotional Factors - Nerves.

• Lesson Seven. More Basic Concepts and Techniques. 'A Division on a Ground' by Mr Faronell, from 'The Division Violin,' London, 1684

• The Importance of the Bass Line - Tempo and Rhythm - The Hierarchies and the Bow Impulses - Engramelle - Good Notes and Bad Notes - Varying the Articulation.

• Lesson Eight. Learning to Feel. Developing a heightened awareness of the Emotional Power of Sound and the Intervals

• Emotional Information: What Sound Tells Us - How to Prepare: Manipulating Our Emotions.

• Lesson Nine. The Inner Life of Sound: 'Messa di voce'

• Lesson Ten. Applying the Messa di voce. Arcangelo Corelli: Adagio from Sonata Opus V No 3

• Applying the 'Messa di voce' - Dissonances and Consonances - On Trills - In Praise of the Second Position - Hemiolas: To be Heard as Well as Seen? - A Note on Chromatic Fingering - Sound and Expression - Summary

• Lesson Eleven: Temperament and 'Historical' Intonation: an Outline

• How Do We Learn 'Pure' Intonation? - Leopold Mozart on Overtones - Peter Prelleur's Fingerboard.

• Lesson Twelve. Scale Exercises and Etudes for Shifting and Intonation

• Part One: Towards a Chinless Scale Book

• The Four Springs - Techniques of Displacement - Shifting and Expression.

• Part Two: Fifteen Exercises for the Methodical Study of Pure Intonation. Applying Pure Intonation to Geminiani's Scale Studies from 'The Art of Playing the Violin (1751)

• Lesson Thirteen. Bringing Fast Notes to Life: the Inequality of the Equal. Albinoni. Sonata Op V1 No 2, Allegro

• How to Play Equal Notes in a Flexible and Subtle Way - The Three Flexibilities - Rhythmic flexibility - Dynamic flexibility - Flexibility of articulation - Adding Slurs: a Misdemeanour? - Sequences.

• Lesson Fourteen. Learning to Feel Comfortable on Gut Strings. I) The Bow

• Lesson Fifteen. Learning to Feel Comfortable on Gut Strings. II) The Left Hand

• Slaves of our Inner Voice: the Fingers.

• Part Two

• Re-examining the Familiar: Sonatas by Vivaldi and Corelli

• Lesson Sixteen. The Starting-point of Interpretation: Learning to Observe

• Arcangelo Corelli: Sonata Op V no VII

• Interpretation: a Question of Taste? - Editions or Facsimiles? - Instrumentation in Corelli's Opus V Sonatas - Means of Expression - Choosing a Convincing Tempo - Preludio - Afterthought: What Happens Within.

• Lesson Seventeen. Corelli. Sonata Op V No VII. Corrente - Sarabanda - Giga

• Lesson Eighteen. Transforming musical decisions into sound

• Lesson Nineteen. In the Footsteps of Corelli. Antonio Vivaldi: Sonata Op 2 No 1

• Preludio.

• Gesture - Shifting: How, When and Whither? - Open Strings: Use or Misuse- Notes Essential and Notes Ornamental

• Lesson Twenty. In the Footsteps of Corelli. Antonio Vivaldi: Sonata Op 2 No 1

• Giga, Sarabanda Largo, Corrente.

• Emotional Information in Rhythm - Learning to Read Vivaldi's Sonata in the Original Notation

• Lesson Twenty-One. Nurturing Spontaneity: Ornamentation, Module One

• Ornamentation: Diversion or Essence? - Overcoming Our Fear of Playing the Unwritten - Ornamentation and National Styles - Composed Ornamentation - First Steps in Ornamenting: Corelli's Sarabanda - Ornamenting the Second Half of the Sarabanda - Corelli's Sarabanda Ornamented by Dubourg.

• Lesson Twenty-Two. Straight from the Heart: the Great Vibrato Debate

• Lesson Twenty-Three. Rhetoric: the Power to Persuade

• The Origins of Rhetoric - Rhetoric and Music - The Musician as Orator - Rhetorical Playing Versus Pure Instrumentalism - Some Rhetorical Figures: Dynamics, Parenthesis, Repetition, Direction, Punctuation and Intonation - Tonality - Dissonance - Tessitura - Tempo - Metre - Acoustic - Imagery - Presentation.

• Notes to Lessons

• Bibliography

• Index

• Acknowledgements