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Full-Text Articles in Music Practice
Realizing The Continuo In Monteverdi's Lamento Della Ninfa And Its Implications For Early-Seventeenth-Century Italian Continuo Practice, Roland Jackson
Realizing The Continuo In Monteverdi's Lamento Della Ninfa And Its Implications For Early-Seventeenth-Century Italian Continuo Practice, Roland Jackson
Performance Practice Review
Monteverdi’s “Amor, dicea” (Lamento della ninfa), appearing in his Eighth Book of Madrigals published in 1638, is regarded as among his most emotionally moving works, Denis Arnold (for one) calling it “unforgettable” and “almost unbearably intense.” Nonetheless, our full sense of it and of its expressive potential, remains uncertain in that its accompaniment has come down to us in incomplete form, consisting of but a single bass line on a descending fourth, A – G – F – E, repeated throughout. How this line is to be interpreted has not been agreed upon among scholars or performers, despite its critical …
On Divided Lines: Instrumentation For Bass Parts In Corelli-Era Sonatas, Peter Walls
On Divided Lines: Instrumentation For Bass Parts In Corelli-Era Sonatas, Peter Walls
Performance Practice Review
There has been considerable debate in recent years about the appropriate treatment of bass lines in Corelli Op. 5 and other duo and ensemble sonatas of the era. This article examines the relationship between continuo parts and separate bass parts in publications that include both. It argues that the case for accepting publication formats as a guide to performance practice is weaker than has often been claimed. The inadequacy of the standard terminology (particularly ‘trio sonata’) for Italian chamber-music ensembles in this period has been much commented on. Italian practice in the 17th century was to designate pieces a 2, …
Monsieur De Saint-Georges' 'Règles Pour L'Accompagnement': A Translation And Commentary, Sara-Anne Churchill
Monsieur De Saint-Georges' 'Règles Pour L'Accompagnement': A Translation And Commentary, Sara-Anne Churchill
Performance Practice Review
Saint-Georges' 'Règles pour l'accompagnement,' which provide instruction in figured bass realization at the harpsichord, are found in an undated manuscript (Paris, Bn, Vm8 1139). This article examines questions of authorship, date of copying, and the author's identity. The manuscript exhibits a close connection to Jean-François Dandrieu’s Principes de l’accompagnement du clavecin (1719) and probably represents an early version of that work.
It Can “Spoil All The Beauty”: The Duplicating Of Solo Dissonances In Seventeenth-Century Thorough-Bass Accompaniment, Roland Jackson
It Can “Spoil All The Beauty”: The Duplicating Of Solo Dissonances In Seventeenth-Century Thorough-Bass Accompaniment, Roland Jackson
Performance Practice Review
17th-century accompaniments avoid duplicating the dissonances present in solo parts. This is borne out in available written-out versions (composer's copies, orchestral scorings), e.g. by R. Dowland, Cesti, A. Scarlatti, and Purcell. The same is evident in unrealized accompaniments (bass lines with or without figures) if interpreted according to contemporary strictures (e.g. Rule of Octave). Following these guidelines, harmonizations are suggested for laments by Monteverdi, Cavalli, and Cesti.
Del Suonare Sopra Il Basso: Concerning The Realization Of Early Seventeenth-Century Italian Unfigured Basses, Thérèse De Goede-Klinkhamer
Del Suonare Sopra Il Basso: Concerning The Realization Of Early Seventeenth-Century Italian Unfigured Basses, Thérèse De Goede-Klinkhamer
Performance Practice Review
RILM abstract:"A number of thorough-bass realizations in modern editions of early-17th-c. Italian music are compared with the rules for harmonization, voice leading, musica ficta, and performance practice as laid down in treatises from the same period. Early pieces often should be harmonized differently from how they have been in modern editions. There are also many possibilities such as playing 5-6-5-6 sequences, doubling the bass in octaves, and adding dissonances in certain progressions and allowing false relations, that have hardly been used or have been avoided because they were not thought to be allowable.(Tashiro, Mimi)"
"Continuo Realization In Handel's Vocal Music." By Patrick J. Rogers, David Ledbetter
"Continuo Realization In Handel's Vocal Music." By Patrick J. Rogers, David Ledbetter
Performance Practice Review
Ledbetter discusses and reviews Rogeres' 1989 book.
"Bach's Continuo Group: Players And Practices In His Vocal Works." By Laurence Dreyfus, Patrick Rogers
"Bach's Continuo Group: Players And Practices In His Vocal Works." By Laurence Dreyfus, Patrick Rogers
Performance Practice Review
Rogers discusses and reviews Dreyfus' 1987 book.
"Thorough-Bass Accompaniment According To Johann David Heinichen." Rev. Ed. By George Buelow, Philip Wade Russom
"Thorough-Bass Accompaniment According To Johann David Heinichen." Rev. Ed. By George Buelow, Philip Wade Russom
Performance Practice Review
Russom discusses and reviews Buelow's 1986 edition.
"Continuo Playing On The Lute, Archlute And Theorbo" By Nigel North, James Tyler
"Continuo Playing On The Lute, Archlute And Theorbo" By Nigel North, James Tyler
Performance Practice Review
Tyler discusses and reviews North's 1987 book.
"The Performance Of The Basso Continuo In Italian Baroque Music" By Tharald Borgir, John Walter Hill
"The Performance Of The Basso Continuo In Italian Baroque Music" By Tharald Borgir, John Walter Hill
Performance Practice Review
Hill discusses and reviews Borgir's 1987 book.