Performing Baroque Music 1st Edition by Mary Cyr 9781351554640 1351554646
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ISBN 10:1351554646
ISBN 13:9781351554640
Author:Mary Cyr
Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era. Scores for eleven works, many reproduced in facsimile to illustrate the conventions of 17th and 18th century notation, are included for close study. Readers will find new material on continuo playing, as well as extensive treatment of singing and French music. The book is also a concise guide to reference materials in the field of baroque performance practice with extensive annotated bibliographies of modern and baroque sources that guide the reader toward further study. First published by Ashgate (at that time known as Scolar Press) in 1992 and having been out of print for some years, this title is now available as a print on demand title.
Performing Baroque Music 1stTable of contents:
1. Performance Practice and Baroque Sound
The role of the performer in baroque music
§ The sources and tools for studying baroque performance
§ Baroque sound
§ Bibliographical notes
2. Tempo and Spirit
Tempo mark and meter in baroque music
§ Determining the appropriate spirit
§ Affect and the aria
§ Tempo in seventeenth-century music
§ The eighteenth-century adagio
§ Other baroque tempo marks
§ The dances and their tempos
§ Bibliographical notes
3. Dynamics
Written and unwritten dynamic nuances in the seventeenth century
§ Written and implied dynamics in eighteenth-century music
§ The relationship of dynamics to harmony
§ Bibliographical notes
4. Pitch, Tuning, and Temperament
The nonstandard nature of baroque pitches and temperaments
§ Northern Germany: The background to Bach’s pitches
§ J. S. Bach’s pitches
§ Low pitches used in France
§ Some high and low pitches in Italy
§ Choosing a pitch for modern performance
§ Equal and nonequal temperaments
§ Bibliographical notes
5. The Basso Continuo
Use and function of the continuo in the seventeenth century
§ The choice of continuo instruments in French music
§ The continuo instruments in Bach’s music
§ Realizing the continuo part
§ Summary and modern considerations
§ Bibliographical notes
6. Articulation
Lully and seventeenth-century French orchestral practice
§ The emergence of solo styles of articulation in the eighteenth century
§ Late baroque solo and orchestral playing
§ Woodwind articulation
§ Articulation in singing
§ Keyboard articulation
§ Summary: Choosing an articulation
§ Bibliographical notes
7. Rhythm and Notation
The unmeasured prelude
§ Declamation and recitative
§ Other rhythmic alterations
§ Summary and final thoughts
§ Bibliographical notes
8. Ornamentation
The early baroque period
§ Italian ornamentation after 1660
§ French ornamentation after 1660
§ Vocal ornamentation
§ J. S. Bach’s ornamentation
§ Bibliographical notes
Appendix A: Guide to Scores
Johann Sebastian Bach: Recitative (“Zwar fühlt mein schwaches Herz”) and aria (“Doch weichet, ihr tollen”) from Liebster Gott, wenn werd ich sterben (BWV 8)
§ Johann Sebastian Bach: Sinfonia from Ich hatte viel Bekümmernis (BWV 21)
§ Dieterich Buxtehude: Sonata in A, Op. 2, No. 5
§ André Campra: Forlana from L’Europe galante,
§ Arcangelo Corelli: Sonata Op. 5, No. 5
§ Louis Couperin: Prelude in F for harpsichord
§ George Frideric Handel: Aria (“Sirti, scogli, tempeste”) from Flavio,
§ Jean-Baptiste Lully: Ouverture to Le bourgeois gentilhomme,
§ Claudio Monteverdi: Strophic aria (“Possente spirto”) from Orfeo,
§ Jean-Philippe Rameau: Menuet in G for harpsichord
§ Jean-Philippe Rameau: Menuet and air (“Naissez dons de Flore”) from Castor et Pollux,
Appendix B: Bibliographies and General Studies of Performance Practice
Appendix C: Pre-1800 Sources Cited
Appendix D: Credits for Musical Examples and Tables
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