The Baroque Violin & Viola, vol. II

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 Conservatory of The Hague in the Netherlands.

• ForewordIntroductory quotesQuestions and AnswersPart ThreeApproaching the Early Seventeenth Century Italian SonataLesson Twenty-Four. Stepping Back in Time: Division Manuals 1535-1624. Ornamentation, Module TwoDivisions - Learning to Dare: Developing Basic Improvisational Skills - Sylvestro Ganassi's 'Fontegara' (Venice, 1535) - Studying Divisions from Ganassi's 'Fontegara' - Learning to Read Sixteenth and Seventeenth-century Music from Facsimiles - Note Values - Giovanni Bassano: 'Ricercate, passaggi et cadentie,' (Venice 1585) - Cadences - Aurelio Virgiliano: 'Regole Della Diminutione' (c 1600) - G. B. Spadi: 'Libro de passaggi ascendenti e descendenti' (Venice, 1624).A Florentine Interlude. Towards 'The New Music:' from Plato to CacciniLesson Twenty-Five. The Noble Manner of Singing: Caccini's 'Le Nuove Musiche' (1602)Passaggi - Three ways to Sing a Note - The Intonatio - Con Grazia - The Esclamazione - Transferring Caccini's 'Cor mio, deh! non languire' to the Violin - The Trillo and the Gruppo - Transferring the Vocal Trillo to the Violin - The Gruppo - Transferring the Vocal Gruppo to the Violin - Rhythmic Alteration - Transferring the Vocal Cascata to the Violin - Sprezzatura - Transferring Caccini's 'Deh, dove son fuggiti' to the Violin.Lesson Twenty-Six. A Lesson from Francesco Rognoni Taeggio: Applying Vocal Technique to the ViolinEl Portar della Voce - The Accento - The Tremolo - The Groppo - Del principiar sotto la nota - The Esclamatione - La Selva, Part Two - Francesco Rognoni's 'Way of slurring' -Lesson Twenty-Seven. Giovanni Battista Fontana (1589 (?) - 1630) Sonata TerzaThe Tactus - Reading this Sonata in the Original Notation Clefs - Rests - Coloration - Tempo Relationships and Proportional Notation.Lesson Twenty-Eight. Dario Castello: Sonata Prima, for Soprano SoloLesson Twenty-Nine. Giovanni Antonio Pandolfi Mealli: Sonata Quarta Opus 4, La Biancuccia'Stylus Phantasticus' - Musica Ficta.Lesson Thirty: Ornamentation, Module Three, including Tables of Ornaments Derived from the Sonatas of Corelli and BabellA Roman Interlude: Transforming Visual Gestures into SoundPart FourChurch Militant: The Sonatas of Schmelzer and BiberLesson Thirty-One. Johann Heinrich Schmelzer: Sonata Quarta from 'Sonatae unarum fidium' (1664)Lesson Thirty-Two. Heinrich Ignaz Franz von Biber: the Mystery Sonatas. Sonata No 1: the AnnunciationThe Mystery Sonatas: an Introduction - Reference to the Texts.Lesson Thirty-Three. Heinrich Ignaz Franz von Biber: the Mystery Sonatas. Sonata No 10: The CrucifixionScordatura - Symbolism and the Jesuits - The Rhetorical Fragments Described.Part FiveSupreme Refinement of the Human SpiritFrançois Couperin and the Music of FranceInterlude in Versailles: Approaching the Music of the French BaroqueThe Sun King and the Culture of Versailles - The Social Status of the Violin in France.Lesson Thirty-Four. The 'Concerts Royaux' of François Couperin. Ornamentation, Module FourThe 'Concerts Royaux,' an Introduction - Couperin's Agrémens, as found in the Septiéme Concert Royal - The Tremblement - The Pincé - The Port de voix - The Tierce de coulé - The comma (petit silence) - Notes inégales - Slurs - Pitch - Addendum: The Doublé - The Aspiration - The Suspension.Lesson Thirty-Five. To Soothe the Sorrows of a King. François Couperin: Septiéme Concert Royal (I)Movement One (no title) - Allemande, Gayement - Postscript: Dynamic and Rhythmical inégalité, a Personal View.Lesson Thirty-Six. François Couperin: Septiéme Concert Royal (II)Sarabande Grave - Georg Muffat on Lully's Bowings.Lesson Thirty-Seven. François Couperin: Septiéme Concert Royal (III)Fuguéte - Gavote - Siciliéne.Part SixApproaching the GalantLesson Thirty-Eight. Beyond 'Beautiful': Searching for Meaning in Music. Handel: Sonata in A MajorBeautiful Sights and Beautiful Sounds - Handel and Mattheson - Der Vollkommene Capellmeister - Identifying Affects in the Handel Sonata Movement - Punctuation.Lesson Thirty-Nine. Into the Galant: Tartini, Telemann, Quantz and Zuccari. Ornamentation Module FiveTartini: Grace notes - Trills - Vibrato (Tremolo) - The Turn - The Mordent - Cadences. Telemann's Methodical Sonatas. Telemann's Ornaments: Rising and falling appoggiaturas - Trills - Passing notes - Harmonising ornaments - Turns - Rhythmic variation - Ornamented Cadences - Tiratas. Quantz - A Lesson from the Master: Quantz's Notated Adagio - Zuccari.Part SevenJ.S. BachLesson Forty. A Brief History of Baroque Romanticism: Bach's 'Sei Solo'Lesson Forty-One. Johann Sebastian Bach, Sonata I, BWV 1001. AdagioBach's Written-out Ornamentation - The Necessity of Illusion - A Controversial Note - Afterthought.Lesson Forty-Two. Johann Sebastian Bach, Sonata I, BWV 1001. FugaA Note on ResonanceLesson Forty-Three. Johann Sebastian Bach, Sonata I, BWV 1001. SicilianaHooked BowingsLesson Forty-Four. Johann Sebastian Bach, Sonata I, BWV 1001. PrestoBach and Rhetoric - On Slow practice.Lesson Forty-Five. Intonation in Bach's 'Sei Solo.'The Training of the Ear - Intonation Analysis - Learning to hear quickly - The Training of the Left Hand - Playing Chords: the Left HandLesson Forty-Six. Johann Sebastian Bach, Partita III in E Major, BWV 1006. PreludioInterlude: Bach and the Influence of French Culture in the German LandsBach and DanceLesson Forty-Seven. Johann Sebastian Bach: Partita III in E Major, BWV 1006LoureTempo and Bowings in Bach's Loure - Punctuation and Articulation in Dance Movements - Punctuation and Articulation in Bach's Loure - Ornamentation in Bach's Dances.Lesson Forty-Eight. Johann Sebastian Bach. Partita III in E Major, BWV 1006. Gavotte en RondeauxLesson Forty-Nine. Johann Sebastian Bach. Partita III in E Major, BWV 1006. Minuets I and IILesson Fifty. Johann Sebastian. Bach. Partita III in E Major, BWV 1006. Bourée and GigaNotes to LessonsBibliographyIndexAcknowledgements

This book is exactly what violinists need to find practical and profoundly-researched information about anything concerning Baroque style. It is a book all musicians truly interested in delving into historical performance questions should never let out of their sight