Preface p. v Acknowledgements p. xi List of Plates p. xxi List of Figures p. xxiv The Formative Period, 1520-1600 General introduction p. 2 The Origin and Development of the Early Violin, 1520-50 p. 6 The early violin. Dates and places of origin. Gaudenzio Ferrari's paintings p. 7 Ancestors: rebec, Renaissance fiddle, lira da braccio. The role of the viols. Terms p. 8 Did the viola precede the violin? p. 15 The 'inventor' of the violin p. 17 Chronological review of the evidence. Treatises. Historical, political, and linguistic questions. Terms p. 21 The Advent of the True Violin and Its Development to 1600 p. 31 The true violin described by Jambe de Fer. Detailed description p. 31 The emergence of Cremona and Brescia as centres of violin making. Andrea Amati, Gasparo p. 34 da Salo, and G. P. Maggini. Violins shown in painting Export of Italian violins to other countries p. 38 Violin making outside Italy: France. Germany. Poland. Spain. England p. 39 Treatises. Terminology p. 42 The violin bow in the sixteenth century p. 45 Violin Music in the Sixteenth Century p. 49 The musical functions of the violin p. 50 The dearth of written violin music p. 51 The role of the violin in dancing and accompanying voices p. 52 Instrumental forms. The canzona p. 53 Use of the violin in France. Le ballet comique de la reine (1581) p. 54 In England: records of the court, towns, and private households p. 57 In Italy: accounts of the Duke of Savoy p. 59 In Germany: an account of a ducal wedding p. 61 How the Violin Sounded and How It Was Played in the Sixteenth Century p. 65 Different methods of playing. The corresponding sound p. 65 How the violin was played in the sixteenth century p. 71 Holding the violin and bow p. 73 Tone, The bow stroke. Ganassi's information. Down-bow and up-bow p. 77 Pizzicato p. 84 Fingering. Positions. Shifting p. 84 Improvisation p. 89 Multiple stops p. 90 Expression, including vibrato and dynamics p. 91 The Development of an Idiomatic Technique, 1600-1650
Introduction. Social, political, and artistic conditions. Their impact on the violin p. 98 The Development of the Violin and Bow in the Early Seventeenth Century p. 107 The progress of the violin. Maggini. The Amatis. Details of the violin and its fittings p. 107 The bow p. 111 The violin family as a whole. Terminology p. 115 Increasing usage of the violin. Its effect on rebec and viol p. 119 The New Violin Idiom. Violin Music and Its uses in Different Countries, 1600-50 p. 121 The implications of the term 'idiom' p. 121 The development of a new violin idiom p. 125 Violin music and its uses, 1600-50. The sonata and other forms p. 126 Contributions of various countries: Italy. Marini p. 134 Germany p. 136 France p. 136 England p. 138 Other countries p. 143 The Technique and Sound of the Violin in the Early Seventeenth Century p. 145 The relation between technique, music, and instrument making p. 145 The dance style and the sonata style of playing. National styles p. 147 Holding the violin and bow. The French and Italian bow grips p. 152 The technique of the left hand: fingering, positions, and shifting p. 153 The technique of the right hand: bowing and bow strokes p. 156 The formation of a bowing discipline in Italy and elsewhere. The Rule of Down-Bow. Zannetti p. 157 Individual bow strokes. Slurring. Francesco Rognoni p. 163 Borrowing of technique. Multiple stops p. 166 Special indications: Tremolo. Affetti p. 170 Col legno. pizzicato p. 171 The sound of the violin in the early seventeenth century p. 172 General Matters Affecting the Violin to 1650 p. 175 Ornaments p. 175 The vibrato p. 177 Dynamics and expression p. 178 Rhythm and tempo p. 180 Pitch. Intonation systems p. 185 The National Schools of the Late Seventeenth Century. The Rise of Virtuosity Introduction p. 192 The Development of the Violin and Bow, 1650-1700 p. 194 The influence of Nicola Amati and Stainer p. 194 Antonio Stradivari (early works). The 'long' model p. 197 Other makers p. 198
Details of the seventeenth-century violin. The Talbot manuscript p. 199 Material and thickness of string. Pitch. Tension. Volume of sound p. 203 The bow. The 'Stradivari' bow p. 206 The Violin Music of the Late Seventeenth-century p. 212 Introduction: types of music and ideas of expression p. 212 Contributions of different countries: Italy p. 216 Areas of activity. Composers p. 216 The Bologna School. G. B. Vitali p. 218 Corelli. Works and influence p. 220 Germany p. 223 Biber. Walther p. 223 Their music and technique p. 224 The scordatura p. 226 France p. 227 Lully's use of the violin in dances and the opera p. 229 French violinists and the guild system p. 229 England p. 229 The French influence of the Restoration of Charles II. Influx of German and Italian violinists, including Baltzar and Matteis p. 229 The fancy. John Jenkins p. 233 Dances. The variation. The Division-Violin p. 234 Baltzar as a player p. 235 Matteis as a player and composer p. 236 Purcell's trio sonatas p. 237 Other countries p. 239 The Technique of the Violin, 1650-1700 (I): National Styles of Playing. The Treatises. The Left Hand p. 241 Introduction. National styles of playing p. 241 The violin treatises. The rise of the amateur violinist and its consequences p. 244 The technique of the violin. Tuning the violin p. 247 Holding the violin p. 247 Holding the bow p. 248 The left hand: fingering, positions, and shifting. Rules for the scordatura p. 249 Terms for shifting. Extensions p. 251 The Technique of the Violin, 1650-1700 (II): the Right Hand and Related Questions. the Sound of the Violin p. 253 Bowing. The bow stroke p. 253 Nuanced and sustained bow strokes. Bremner quoted on Corelli's practice p. 254 The discipline of bowing. The Rule of Down-Bow p. 256 Muffat and French dances. Terms p. 257 Types of bowing and their execution: syncopated bowings, ondeggiando, bariolage, the slurred tremolo p. 262 Multiple stops, their notation and performance p. 271
The pizzicato. Special effects p. 277 Instrumentation and the ensemble. 'Conducting' p. 278 The sound of the violin about 1700 p. 281 General Matters Affecting the Violin, 1650-1700 p. 285 Ornaments p. 285 The vibrato p. 287 Improvisation p. 288 Dynamics p. 290 Rhythm and tempo p. 292 Alterations of rhythm: p. 294 Lengthening of dotted figures p. 295 Alteration of dotted and other figures in the context of triplets p. 296 Notes inegales p. 303 The Culmination of the Early History of Violin Playing, 1700-1761 Introduction: the 'evolution of progress' theory. A summary view of the violin p. 312 The Violin and Bow of the Early Eighteenth Century p. 317 Antonio Stradivari (maturity and old age) p. 317 The Guarneri family p. 318 Other makers p. 318 Details of the violin and its fittings p. 319 Other members of the violin family. Terminology p. 323 The bow. Its evolution. Francois Tourte and the modern bow p. 324 The Violin Music of the Early Eighteenth Century p. 331 The development of the violin concerto. The concerto grosso and solo concerto p. 331 The sonata. The variation. Program music p. 336 The development of the violin idiom p. 338 Contributions of individual countries p. 341 Italy: Vivaldi. Veracini. Tartini p. 341 France: Leclair. Mondonville. Guillemain p. 344 Germany: J. S. Bach p. 348 England: Geminiani. Handel. Ariosti p. 350 Other countries: Sweden. Holland (Locatelli). Switzerland. Poland. Spain p. 352 Publication, performance, and patronage p. 354 The Technique of the Violin, 1700-61 (I): The Treatises. Holding the Violin and Bow. The Left Hand p. 356 Violin treatises, 1700-61 p. 357 The treatises as prototypes: Geminiani, Leopold Mozart, and L'Abbe le fils p. 364 How the violin was played p. 366 Conventions of notation p. 366 Holding the violin. Tuning the violin. Intonation systems p. 367 Holding the bow p. 371 The left hand. Fingering p. 374
Positions, shifting, and the fingerings involved p. 376 Terminology p. 378 Shifting p. 379 Extensions and contractions p. 381 Harmonics. Combination tones p. 384 The vibrato p. 386 Terminology of the vibrato p. 389 The Technique of the Violin, 1700-61 (II): The Right Hand. The Bow Stroke and Bow Change. p. 391 The Rule of Down-Bow The bow stroke. The beginning and ending p. 392 Sol Babitz's theory of the messa di voce stroke p. 393 Leopold Mozart's 'Divisions' p. 394 How the bow stroke was made. The bow change. Power and tone p. 397 Bow strokes in general. The Rule of Down-Bow p. 400 Terminology and signs p. 403 The Technique of the Violin, 1700-61 (III): Bow Strokes and Their Execution p. 404 Introduction. Relation of bowing to the character of the music p. 404 The individual bow stroke p. 405 Slurred bowings p. 407 The violin staccato in the early eighteenth century p. 408 Terms p. 408 Signs: dots, strokes, wedges p. 410 The performance of the individual (unslurred) staccato note p. 411 Slurred staccato, including 'lifted' bow p. 416 Slurred tremolo, legato and staccato p. 422 Mixed bowings p. 424 Vivaldi's bowings and terms p. 424 The Technique of the Violin, 1700-61 (IV): Multiple Stops. The 'Bach' Bow. Special Effects. Instrumentation and Conducting. The Sound of the Violin p. 427 Double stops p. 428 Triple and quadruple stops. Their notation p. 429 The 'Bach' bow, a modern invention. Schering and Schweitzer p. 431 Multiple stops in actual practice p. 435 Arpeggios p. 438 Slurring p. 441 Special effects, including the pizzicato p. 443 Instrumentation and conducting p. 445 The sound of the violin in the early eighteenth century p. 447 Specific and Improvised Ornaments. The Cadenza p. 449 The trill p. 450 The mordent p. 453 The appoggiatura p. 455
Improvised ornaments p. 457 The cadenza p. 461 Terms. The cadenza in Tartini and Locatelli p. 464 Tempo. Alterations of Rhythm. Dynamics. Expression p. 467 Time signatures. Tempo terms. The 'inherent' tempo p. 467 Tempo rubato p. 470 Alterations of rhythm p. 472 Notes inegales. Quantz quoted p. 472 Double (or triple) dotting p. 478 Alterations of dotted and other figures in the context of triplets p. 482 Dynamics: loud, soft, and the shades between p. 484 Aesthetics of expression. The Affetto p. 490 Practical Hints to Modern Violinists p. 495 Introduction: the approach to the performance of old music. The intuitive approach. Following the composer's intentions p. 495 The old violin and the old bow p. 496 The kind of sound to be produced p. 497 The bow and bowing p. 497 Position and fingering p. 500 Altering the modern violin. Reducing tension p. 500 Holding the violin p. 502 Other factors, technical and musical, including expression p. 502 Stradivari's birthday p. 505 Bibliography p. 509 Glossary p. 525 Index p. 531 Table of Contents provided by Blackwell's Book Services and R.R. Bowker. Used with permission.