Baroque Music

588 Pages·2011·47.566 MB·English

by  Peter Walls (ed.)

Baroque Music
The Library of Essays on Music Performance Practice
Series Editor: Mary Cyr
Titles in the Series:
Medieval Music
Haney Mecani
Renaissance Music
Kenneth Kreitner
Baroque Music
Peter Walls
C1assical and Romantic Music
David Mi/sam
Baroque Music
Edited by
Peter Walls
New Zealand Symphony Orchestra and Victoria University ofWellington,
New Zealand
First published 2011 by Ashgate Publishing
Published 2016 by Routledge
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Routledge is an imprint ofthe Taylor & Francis Group, an informa business
Coyright © Peter Walls 20 ll. For copyright of individual articles please refer to the
Acknowledgements.
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Wherever possible, these reprints are made from a copy ofthe original printing, but these can themselves
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British Library Cataloguing in Publication Data
Baroque music. - (The library of essays on music
performance practice)
1. Music-17th century-History and criticism. 2. Music-
18th century-History and criticism. 3. Performance
practice (Music)-History-17th century. 4. Performance
practice (Music )-History-18th century.
1. Series 11. Walls, Peter.
781.4'3'09032-dc22
Library ofCongress Control Number: 2010936052
Bach musicological font developed by © Yo Tomita
ISBN 9780754628828 (hbk)
Contents
Acknowledgements ix
Series Preface xi
lntroduction xiii
PART I PROLOGUE
2 Camille Saint-Saens (1915), trans. Henry P. Bowie, 'On the Execution of Music,
and Principally of Ancient Music', San Francisco: The Blair-Murdock Company,
pp. 1-21. 3
PART 11 THE RIGHT INSTRUMENT
2 Frank Hubbard (1984), 'Reconstructing the Harpsichord', in Howard Schott (ed.),
The Historical Harpsichord: Vol. 1, New York: Pendragon Press, pp. 3-16. 27
3 lohn Koster (1999), 'The Harpsichord Culture in Bach's Environs',
Bach Perspectives, 4, pp. 57-77. 41
4 Ardal Powell with David Lasocki (1995), 'Bach and the Flute: The Players,
the Instruments, the Music', Early Music, 23, pp. 9-29. 63
5 Robert E. Seletsky (2004), 'New Light on the Old Bow: Part I', Early Music,
32, pp. 286-301. 81
6 Robert E. Seletsky (2004), 'New Light on the Old Bow: Part 2', Early Music,
32,pp.415-26. 95
7 Andrew Parrott (2002), 'Falsetto and the French: "Une toute autre marche", ,
Basler Jahrbuch für historische Musikpraxis, 26, pp. 129--48. 107
PART 111 PITCH TUNING AND TEMPERAMENT
8 lohn Barnes (1979), 'Bach's Keyboard Temperament: Internal Evidence from
the Well-Tempered Clavier', Early Music, 7, pp. 236--49 [129--46]. 129
9 Bruce Haynes (1991), 'Beyond Temperament: Non-Keyboard Intonation in the
17th and 18th Centuries', Early Music, 19, pp. 357-81. 147
PART IV TECHNIQUE AND STYLE
10 Mark Lindley (1996), 'Handelian Keyboard Fingerings " Göttinger
Händel-Beiträge, 6, pp. 194-205. 173
11 Peter Walls (1984), 'Violin Fingering in the 18th Century', Early Music, 12,
pp. 300-15. 185
vi Baroque Music
12 Bruce Haynes (1997), 'Tu ru or Not Tu ru: Paired Sy llables and Unequal
Tonguing Patterns on Woodwinds in the Seventeenth and Eighteenth
Centuries', Performance Practice Review, 10, pp. 41-60. 201
e
13 Richard Wistreich (1994), "'La voce grata assai, ma ... ": Monteverdi on
Singing', Early Music, 22, pp. 7-19. 221
PART V VIBRATO
14 Frederick Neumann (1991), 'The Vibrato Controversy', Performance Practice
Review, 4, pp. 14-27. 235
15 Roger Hickman (1983), 'The Censored Publications of The Art ofPlaying on
the Violin, or Geminiani Unshaken' , Early Music, 11, pp. 73-76. 249
PART VI WHAT WORKS? (TEXT, SUBTEXT, SURTEXT)
16 Philip Brett (1988), 'Text, Context, and the Early Music Editor', in Nicholas
Kenyon (ed.), Authenticity and Early Music: A Symposium, Oxford: Oxford
University Press, pp. 83-114. 255
17 David Fuller (1993), 'Sous les doits de Chambonniere', Early Music, 21,
pp. 191-202. 287
18 Peter Allsop (1996), 'Violinistic Virtuosity in the Seventeenth Century:
Italian Supremacy or Austro-Gennan Hegemony?', 11 Saggiatore musicale,
3,pp.233-58. 299
19 Neal Zaslaw (1996), 'Ornaments for Corelli's Violin Sonatas, Op. 5', Early
Music, 24, pp. 95-116. 325
PART VII TEMPO AND RHYTHMIC ALTERATION
20 Stephen E. Hefling (1994), 'Deja Vu All Over Again? Rhythmic Alteration
vs. Neumann's Musical Protectionism', Historical Performance, 7, pp. 85-94. 349
21 John Byrt (2001), 'Alteration in Handel: A Fresh Approach', Musical Quarterly,
85,pp.194-219. 365
22 Matthew Dirst (1997), 'Bach's French Overtures and the Politics ofOverdotting',
Early Music, 25, pp. 35--44. 391
PART VIII SCORING
23 Peter Hohnan (1993), "'Col nobilissimo esercitio della vivuola": Monteverdi's
String Writing', Early Music, 21, pp. 577-90. 403
24 Samantha Owens (2001), 'Professional Women Musicians in Early
Eighteenth-Century Württemberg', Music and L etters , 82, pp. 32-50. 417
25 Anne Schnoebelen (1969), 'Performance Practices at San Petronio in the Baroque',
Acta Musicologica, 41, pp. 37-55. 437
Baroque Music vii
26 Niels Martin Jensen (2007), 'When Is a Solo Sonata Not a Solo Sonata? Corelli's
Op. V Considered in the Light ofthe Genre's Tradition', in Antonella D'Ovidio,
Gregory Bamett and Stefano La Via (eds), Arcangelo Corelli:fra milo et realta
storica, I, Florence: Leo S. Olschki, pp. 211-30. 457
27 Joshua Rifkin (1982), 'Bach's Chorus: A Preliminary Report', Musical Times,
123, pp. 747-54. 477
PART IX CHALLENGING HIP
28 Theodor W. Adomo (1967), trans. Samuel and Shierry Weber, 'Bach Defended
Against His Devotees', Prisims, Cambridge, Massachusetts: MIT Press,
pp. 135--46. 487
29 Laurence Dreyfus (1983), 'Early Music Defended Against Its Devotees:
A Theory of Historical Performance in the Twentieth Century', Musical
Quarterly, 49, pp. 297-322. 499
PART X EPILOGUE
30 Sigiswald Kuijken (2010), 'A Bach Odyssey', Early Music, 38, pp. 263-72. 529
Series Bibliography 539
Name Index 543

Acknowledgements
The editor and publishers wish to thank the following for perrnission to use copyright material.
Anne Schnoebelen for her essay: Anne Schnoebelen (1969), 'Performance Practices at San
Petronio in the Baroque', Acta Musicologica, 41, pp. 37-55.
Early Music America for the essay: Stephen E. Hefling (1994), 'Deja Vu All Over Again?
Rhythmic Alteration vs. Neumann's Musical Protectionism', Historical Performance, 7,
pp. 85-94. Reprinted with perrnission from Historical Performance, Fall 1994, copyright ©
1994, Early Music America, Inc.
Goettinger Händel-Gesellschaft for the essay: Mark Lindley (1996), 'Handelian Keyboard
Fingerings' , Göttinger Händel-Beiträge, 6, pp. 194-205.
11 Saggiatore musicale for the essay: Peter Allsop (1996), 'Violinistic Virtuosity in the
Seventeenth Century: Italian Supremacy or Austro-Gerrnan Hegemony?', 11 Saggiatore
musicale, 3, pp. 233-58.
Leo S. Olschki for the essay: Niels Martin Jensen (2007), 'When Is a Solo Sonata Not a
Solo Sonata? Corelli's Op. V Considered in the Light of the Genre's Tradition', in Antonella
D'Ovidio, Gregory Barnett and Stefano La Via (eds), Arcangelo Corelli: fra mito et realta
storica, I, Florence: Leo S. Olschki, pp. 2ll-30.
MIT Press for the essay: Theodor W. Adorno (1967), trans. Samuel and Shierry Weber, 'Bach
Defended Against His Devotees' ,Prisims, Cambridge, Massachusetts: MIT Press, pp. 135-46.
Copyright © 1967 Theodor W. Adorno.
Musical Times Publications forthe essay: JoshuaRifkin (1982), 'Bach's Chorus: APreliminary
Report', Musical Times, 123, pp. 747-54.
Oxford University Press for the essays: Ardal Powell with David Lasocki (1995), 'Bach and
the Flute: The Players, the Instruments, the Music', Early Music, 23, pp. 9-29; Robert E.
Seletsky (2004), 'New Light on the Old Bow: Part 1', Early Music, 32, pp. 286-301; Robert
E. Seletsky (2004), 'New Light on the Old Bow: Part 2', Early Music, 32, pp. 415-26; John
Barnes (1979), 'Bach 's Keyboard Temperament: Internal Evidence from the Well-Tempered
Clavier', Early Music, 7, pp. 236-49; Bruce Haynes (1991), 'Beyond Temperament: Non
Keyboard Intonation in the 17th and 18th Centuries', Early Music, 19, pp. 357-81; Peter
Walls (1984), 'Violin Fingering in the 18th Century', Early Music, 12, pp. 300-15; Richard
e
Wistreich (1994), "'La voce grata assai, ma ... ": Monteverdi on Singing', Early Music, 22,
pp. 7-19; Roger Hickman (1983), 'The Censored Publications of The Art of Playing on the
Violin, or Geminiani Unshaken', Early Music, 11, pp. 73-76; David Fuller (1993), 'Sous les
doits de Chambonniere', Early Music, 21, pp. 191-202; Neal Zaslaw (1996), 'Ornaments for