So today I practiced these sorts of techniques with the Baroque set-up with the Gut Strings now on. Today’s practice overall was okay, a little tense in the shoulders so I am hoping that will subside as I am practicing more since the accident.
Despite these examples are in the Viola Clef they can be applied the same way on any string instrument – and is something I could maybe think about in phrases and stuff.
The Gut strings finally arrived today! Hooray! Has taken quite a long time for them to come since I ordered them but I’m sure it’ll be worth while for practicing now. Was previously working with synthetic strings – Dominants which were great for tone and practicing with until I got some authentic strings for one of the recordings.
So I have decided to use Pirastro Chorda Violin strings which are designed for Baroque/Classical instruments made from Plain Gut. Plain Gut strings are ideal for playing this style of music which I am studying and in a nut-shell all gut strings are is lots of strands from sheeps gut which is wound very tightly and polished or hand-rubbed with oil till its compact – you get a distinct kinda of sound from these strings what I would describe as ‘gutsy’ and in comparison to traditional strings a lot less powerful although on my set-up the sound carries quite well with it being a bright sounding violin.
Wee bit of History
So in the beginning of string making, when the modern violin was first made there was only one type of string used, although other materials were sometimes used with such as animal muscles, or connective tissue where sheep or lamb gut was preferred to be used. The term “catgut” or “gut” is used to describe these strings, but it doesn’t mean that they were made from a cat which some people think.
So from the advancement in string technology – it was the about combining gut and metals. The G-String was often wound with silver and the others just plain gut (which I have set up). This means density of the string is greater, making it smaller in diameter and then more projection of sound.
When people realised this was working the made steel E strings in the nineteenth century because gut E strings are very thin to make and prone to breaking when you reach a certain pitch and sometimes the one you want (which I was so worried about when turning the pegs!) Metal E strings were popular and it was around this time people were forced to change to metal strings from gut because of animal trading in the war and the pro that steel was being made a lot more and was easy to access.
So there are Metal and Synthetic Strings that were produced in the 19th Century but full sets of core metal were being made into the 20th Century. These strings are made of solid strands of metal (usually steel) and later technology – with woven/roped metal core strings.
Strings with a rope cores are more flexible than solid metal core strings meaning the suspension created helps withstand the weight of the bridge, while allowing some movement you would previously. The largest criticism with metal strings is that they lack the richness of gut strings. Rope core metal strings helped to add color to the sound in comparison to solid metal core strings, the same tonal quality at gut is not the same.
Synthetic core strings on the other hand were introduced in the mid-1900s and bridge this gap between gut and metal. They are not greatly effected by weather changes which gut strings are, they are responsive and can come much closer to the richness of gut strings than metal achieves. Dominant strings by Thomastik-Infeld (what was on originally on the Hopf) was the first major synthetic string on the market and still is used today. Most synthetic strings are created from a type of nylon (perlon) and some others use zyez (used to make tennis rackets) with manufacturers such as D’Addario.
String companies are constantly experimenting with new materials for strings and sounds tend to go in trends. A lot of people now are wanting to adapt to the “soloistic” quality using brighter synthetic strings like Visions (which I am using on modern set-up) or PI (Peter Infeld).
What I’ve done
So today I have been changing the set-ups, getting some advice from maker and restorer who originally restored this set-up a few years ago, Colin Adamson and put these strings on.
The strings D, A, E strings are made of plain gut while the G is gut wound with silver-plated copper and the wire is unpolished – which gives a dark sound.
The G string came with a knot and loop hole so I had to feed to the rest of string through to create the loop round the tailpiece.
In comparison to my other violin, which uses Vision Solo strings by Thomastik, which bring a wonderful clean, soloist like and clear tone for my Guaneri copy set up.
Todays comparison of style will be with violinist Arthur Grumiaux and Nathan Milstein who are similar in how they portray what could be regarded as a more modern approach to Bach’s music. Yesterday I looked at two Baroque specialists and today with two other performers who prefer to capture the feeling of Bach in a more full-on-sound approach. Due to how the baroque violin was challenged by modern advancement in violin making, recordings from the 1960’s experiment more with this new power which can still bring Bach alive – even if its not using what was used in the day.
Arthur GrumiauxNathan Milstein
The Belgian violinist Arthur Grumiaux is considered to be a great violin virtuosi of the twentieth century. Bringing performances that are technically accurate and sensitive to musical structure. I believe his style comes across much better in romantic repertoire however, I believe his style is something I could maybe take with a pinch of salt and apply.
(Similarly to Perlman)
American/Russian Violinist Nathan Milstein like Grumiaux is considered iconic in the 20th Century and was known for his recordings of Bach’s solo works (which is why I have picked him) and of his romantic works. He had a long career until breaking his hand in the 80’s and sadly died 22 years ago, the year I was born.
So with these two figures in mind I decided to focus on the D minor Sarabande from Partita No.2 more closely and took notes on there interpretation and of the qualities I heard in each recording – which will help me further in personal practice in deciding and experimenting with the sound I would like to capture and which I can still bring across the differences and contrasts to the public.
Arthur Grumiaux Sarabande
Fuller chords – in comparison to the baroque recordings – they seem to be more powerful throughout and held on.
Punchy articulation but stroked not staccato – more detached
The tempo is very fixed in my personal view – he doesn’t play about too much or stretches rhythms – only at cadential areas.
rit in measure three with the open A-A double stop.
When the phrases repeat they are much the same – no change in musicality just pushes through – consistent
There isn’t much dynamic contrast very forte (loud) and very few shaping of crescendo (louder) and diminuendo (softer)
The rhythms however in the second half (subject) is more contrast unlike the first half of the work.
Definitely a contrast in sections here.
He accentuates the first beats of the bar and crescendos into important phrases
rit on last bar.
Throughout I feel it is very note heavy meaning you can hear every single note with the same power or pressure making it very clear.
He doesn’t use much vibrato, only using it on longer notes and important chords – otherwise he doesn’t really use it making it very straight. Although the vibrato is quite wide in sound quality – trying to romanticise it.
In my personal opinion there isn’t much shaping – in contrast to baroque recording from Podger – she shapes continuously by following the lines that Bach wrote – whereas in this example he is clearly thinking about producing a clear powerful sound.
The sound is beautiful throughout and very powerful portrayal of his music.
Nathan Milstein’s Sarabande
at the beginning – the opening chords are more held much more than in Grumiaux’s – there is already from the opening phrases the push and pull effect that is characteristic of Baroque music.
He holds onto harmonic tension and clearly shapes phrases with crescendo and diminuendo – following the line like Podger and Huggett.
When he repeats the opening section, the second repeat is much louder and gradually becomes softer second half of the phrases by taking more time by lengthening the bass line note.
He doesn’t hold so much in measure 3 Grumiaux does
The second half of the Sarabande is much slower than the first half where this is suggested by the slower trills and accentuation of rhythms. The music at this point is very rhythmically driven.
As he has chosen to take time here I feel that the harmony comes alive more.
Vibrato is shorter and uses it a little more on longer notes.
He treats the music with that idea of the harpsichord making the lines feel separate
So last night I listened and blogged about my thoughts with Isabelle Faust and also watched some Monty Python, Rachel Podger is next on the list – one of my favourite musicians (see more), especially with her vast expertise and teachings historical music courses in wales (RWCMD) but I can’t ignore the importance of Monica Huggett despite my opinion. I thought it would good to have a think about comparing the two – especially since on equal par of knowledge of period performance and differing styles of what priorities are in a Bach recording and therefore the pros and cons of them.
Both recordings are fabulous but for this project I need to think about what the preference could be and with that I still need to make some decisions on style – so by analysing others i’ll able to hear difference and think about whether I feel these differences need to be emphasising this way or that way. I find listening to things – much more gratifying and useful to highlighting photocopies of print outs.
Monica Huggett’s recording with her Amati violin produces a sound that is not forced and what I would describe as ‘pure’. I would say both violinists have this edge however the momentum Rachel Podger keeps on the other hand is no match for Monica Huggett. Rachel’s sense of pace doesn’t seem to detach unlike Monica’s recordings of the set. This is maybe something to another persons ear – would find more pleasing with there being irregularity and a different sense of drive. Although the nuances of sound, articulation and speed of bow in both recordings work well and I cannot fault and they are to me appropriate to period performance practices. (obviously with their experience)
What I find the cons to be with Monica Huggett, is how she seems to make lots of changes to the tempo in each movement – which is just not necessary which means phrases sound interrupted in places which I guess is in the attempt to highlight musical ideas such as descending scales – she seems to rush through. I feel the interruptions she makes are very extreme and make the musical line feel inconsitant.
In particular the fugues are very overemphasised of the shift of the subject theme between the registers – naff! should all be heard! Even the Sarabande and the Corrente in the No. 2 Partita are inconsistent in terms of rhythm and pace by Monica – even though they sound nice to the ear – I guess its about personal preference though. In this video (here) – highlights this inconsistency – even in a lesson/masterclass – its not rhythmically paced.
Rachel from a listening point of view – is much more aware of the warm and expressive nuances – where her approach characterises the varied repetitions of the ground bass – which she has pointed out in masterclasses and in talks on other Bach’s work ie. his concertos. The bass line helps to build up the cumulative effect which helps to keep the momentum going which Monica misses out by over-emphasising everything. Rachel is firm but not too assertive with rhythm – she pulls around and stuff but when necessary ie. in cadential progressions or harmonic or melodic lines. The big thing I notice is that she clearly splits chords downwards rather than upwards like Monica Huggett and Itzhak Perlman – giving a lighter feel but this preserves the continuity of this lower part – ie. the opening chords of the Sarabande, Chaconne and the even in the rhythmical pulse of the Giga in particular are so stunning at showing this bass line idea/rule off.
Rachel and Monica both recognise Bach’s marked terraced dynamics, however Podger is more subtle in this technical assurance and is very subtle with accentuations and karmic awareness. Any little change of colour – she heightens – which Huggett does too but again its over emphasised – doesn’t feel natural to me.
I’m sure her style would maybe be a preference for others, however, for the purposes of my project – its not a natural or pure enough for me to follow Monica Huggett – I would much prefer playing something rhythmically stable like what Rachel Podger is aiming for and still be able to portray musicality with expressive articulation from what I’m looking at via recordings and chats and treatises.
This is all personal opinion of course – so please feel free to comment on your thoughts – would great to hear!
ALSO important finding from her recording is that she believes Bach never used a ‘baroque pitch’ – the A = 415 hz – so she uses the standard pitch where A = 440 hz It’s maybe something I need to have a chat with my teacher about if he thinks its necessary and how will I bring alive both representatives of style – do I go from one extreme to another or make the differences subtle – something I’m having to practice around.
Since I last blogged I listened to Mullova again, Podger, Perlman and Ibragimova but it is Isabelle Faust‘s turn for some analysis of what I felt.
Isabelle Faust
Her sound is very straight – there is no vibrato or very little in some places and you can hear her sensitivity to Bach’s phrasing which I forgot at points she was using a baroque bow from looking into the information inside the cover. So finished my dinner for the evening and had another since and thought I would collect some of my thoughts to highlight my analysis of recordings which benefits my personal practice.
There are a few distinct things about her craft of the set
1. She adds ornamentation in repeats – which I think i s gorgeous and just adds to the sense of musicianship – which I would love to place – whether that be more so in the modern interpretation.
2. Momentum – not just in the iconic movements but in every single movement there is a strong sense of pulse and movement – no dragging like Hilary Hahn’s performances – which I have heard live and not at all impressed by.
3. Chords – are very distinct and shaped.
4. Articulation she uses is very authentically to me and crafts the different voices – especially in the fugues and the chaconne.
I find the Chaconne a bit brisk – but the Sarabande which I’m deciding to do – is gorgeous – gives lots of space but not enough so it loses momentum.
Her playing is powerful and intimate throughout – something I believe to be so important in Bach’s music – reflecting back on the loss of his wife and the changing of the style at that point of his career – both personally and socially.
A part of my project is to have an awareness of others reflections on performance so I have just been watching Rachel Podger‘s video and listening to some recordings in 415hz pitch. The video is based on a masterclass with an extract of the Bach Ciaconne from the unaccompanied bach sonatas/partitas in which I wanted to take note of some of the subtlties that I would apply to the Bach piece I choose to perform.
Masterclass Clip
I have decided that I think the Bach Sarabande from the Partita in D – would be really nice to bring to life in the two styles. Due to it being slow – can bring alive the chords and melody line and at the same time apply it to both methods of performance.
So here is some of my notes from what I have watched.
Podger sings the bass line which shows that she is wanting to bring out the bass line but also the melody line – the bass line more prominently so.
She suggests to bring out the chromatic lines – in turn, descending or ascending lines via cadences. There needs to be a good sense of punctuation in baroque music and a useful technique shown in here is playing it as a duet.
This is perhaps something I could do within my practice and with other participants in the practice process (top line vs the bassline) or in turn separate practice of this in order to bring it out
She suggests the unwritten rule of articulation – which Tartini suggests also in his treatise of ‘lifting’
It is such a natural thing to do in itself, but she explains how the rule is that with intervals close by or stepwise would be played with more legato and that intervals with a bigger gap means she would expect more air in between the notes ie. by lifting the bow and having a break. This application means the music will come off the page therefore lifting up bows in this example can be applied to the Sarabande.
The bass line should direct the top line – shown by the duet exercise.
“dynamic within yourself” suggests how Rachel wants you to think about how the dynamics are produced by the feeling / expression and the ways to articulate or punctuate on a baroque bow (which can be applied to a modern bow too) is to dip into the string with the bow to articulate and out again. She also suggests how slur is only an expression and should be strong at the beginning and weaker at the end – Quantz treatise.
She suggests to think about coming away from the resolutions of phrases.
Articulation Rule – is to be strict = lots of character.
I absolutely love Rachel Podger as she applies her baroque knowledge onto modern instruments and experiments with both pitches – despite using her original authentic instrument. Looking at her varying recordings has been very useful in understanding pitch and the ways to articulate and express this style of music.
Having a listen to some CD’s that I bought of Bach and which I have kicking around on my iTunes. Thought for the moment I will try to stick with more modern recordings and set ups – until my plain gut strings arrive for my other set up.
Bach is something that is just amazing to listen to, whether its to switch off, to get geeky or to just absorb in the sound.
Victoria Mullova in her recordings plays on her Guadagnini which is set up with gut-core strings and uses a baroque bow with the traditional modern set up – with no wedges or alterations. The violin itself is made around the time of Bach so makes sense to utilise the sound.
She clearly makes destination of the melody lines and bass line or chords – there is not much vibrato – only sparingly on longer notes. Adds a lot more slurs and makes distinctions with any rhythms that need highlighting throughout the whole set.
This something I need to think about when playing – and it seems to be something that every player is accentuating – whether it is in a romantic style or more characteristically baroque in feeling.
Heres a wee excerpt of the opening adagio in G minor (click here)
With having a good study and having mentioned him in both my proposal and my concept development areas of the project, I am at the stages where I need to implement some material into practice to be able to even highlight that I’m not talking foreign and that what there teachings tell us can be implemented and expressed.
Geminani Ornaments symbols and methods – 14
Above is an image of the ornamentations and expressions he explains – 14 – all very descriptive and he includes exercises that implement these. These are also how they look on any musical score of his and those influenced – in which Bach was – swell as it being the common notation of the day.
Geminiani is very precise, the english (old forms of language – ie. with an s looking like an f and stuff) takes a while to get your head around but he is very detailed in what he asks for. The excerpt I found most appealing in grasping some Bach essense was example 7 – which contains 14 scales which have all the intervals in diatonic and chromatic scale and there is transposition of the hand – so it moves. He asks to refer to previous examples for advice but reminds you to keep your fingers firm but flexible. This exercise although I don’t need to go to the extremes of instrument, will help to articulate notes clear and to think about being free when crossing strings. The slower movements I’m thinking more of doing – means this would maybe be more suitable to warming up – but some process can be made by playing slower and thinking of being percise with intonation.
So today I thought I would blog about some research and context on what I need to think about to meet criteria for my project PlayBach. With the ideas of showing a comparison of pure authentic and modern interpretations of the same piece (still to be decided) I will need to address the issue of pitch, especially it being an important characteristic and issue with performance practice of baroque music. I will need to utilise this through my practical project.
I would suggest reading his book The Story of “A”if this post on baroque pitch interests you. This book points out how interpret pitch by two ways; a pitch name a frequency in hertz, e.g. “A-415.”
For about the last century, the standard pitch level has been A-440, meaning that, wherever you go in the world, Western classical music is standardised (likely) at a pitch level in which the note A in the middle of the treble staff is tuned to 440 hz.
(awee note: a hertz is a unit of frequency where one cycle per second that measures the traveling wave or oscillation of pressure caused by vibrations that we call sound). Having a pitch standard is a convenience for musicians.
Prior to the late 19th century, there was no universal pitch standards. Meaning you could travel from one end of Europe to another – or sometimes from cities and music was being played at different pitches. For a string player, this isn’t an issue because the string can be tuned to any pitch (within reason) – i.e. low tension/high tension strings, however, for a fixed-pitch instrument i.e. like a flute or an oboe – this can be a huge problem.
Baroque string instruments, especially violins, are not as able to handle higher tensions of being tuned almost a half-step sharper than we tune today (A-440). The modern steel and composite strings, we use today will break if you tune to 465-466 frequencies. Using lighter gut strings would have broken before then. Even with this information we need to take into account that if there is too much pressure on top of the instrument it will then cause it to cave in.
In the Baroque Era, pitch levels as high as A-465 (17th century Venice) and as low as A-392 (18th century France) are known to have existed. A few generalizations can be made:
pitch was high in North Germany and lower in South Germany
pitch was low in Rome buthigh in Venice
pitch in France depended on whether you were playing chamber music, opera or something else.
(I am going to have a little long for in detail into German Pitch specifically)
Pitch levels in the Renaissance and Middle Ages were similarly varied according to location and historical period like the Baroque period butby the Classical period there was more interest in standardising pitch levels due to convenience of musicians who travelled – relating also how to notation developing and standard key signatures etc.
One of the pitches used during the baroque period was A-415.
Since 415 hz. is about a half-step below the modern standard of A-440, the pitch of A-415 was set to be as a convenient modern “baroque pitch” standard. This is because in the early days of the historical performance movement, a harpsichord would sometimes play with groups at A-440 and sometimes at a lower pitch. If the difference in pitch is a half-step, the keyboard could be made so that it slides over one string so that the A key played a string tuned to 440 hz. in one position and a string tuned to 415 hz. in the other position.
So when you play baroque music, you could argue you are tuning to A-flat or G-sharp. Some people here would be like No….we tune to an A… but defining the A differently, I believe is dependant on what kind of music you are performing and therefore I will need to consider pitch as part of the development stage of my project to be a success.
From the research into pitch, I’ve realised how period performance is often as much about the “right” feel of the music as it is about the historical accuracy of finding the correct pitch for the piece. Compromise is made due to the instruments available and a mixture of the musician and sometimes their artistic decisions are made that have nothing to do with accuracy are educated guesses due to the gaps in primary sources. (i.e.i will be using a compromise of anpure authentic violin – due to access etc)
Violin players often try different bowings, phrasings, tempos, instrument set ups, and performance techniques that are based on historically recorded information during rehearsals – these experiments which I will show through for Portfolio – will either make it into the final recorded performance or they may do not. Maybe I will try different tunings to see which feels “right” to me.
My Baroque Bow to be able to do this project arrived this morning from Wales 😀 – its just a shame I’m not really able to physically play or able to pick my violin up without wincing from the whiplash and graces. 😦
Neck still causing some major problems and very achey, so practice has been very short lived and not been happening due to health, so I really hope I can produce some productive work in the meantime.
Had a couple of practice sessions with just very basic bow movement and even with that its proved some difficulty so hopefully I will be able to get a good bash at it in the up coming weeks for submissions on the rise when feeling a bit better and less under the weather from injuries. Pain killers sure ain’t helping so I really hope I can manage.
Contacted artistic planning team at the RSNO, Amy Glover who I spent some time with in the summer on work placement about whether they would be keen in being involved with my ideas. Having just submitted my proposal – thought this would be ample time to get in contact with the orchestras team and if I can get my project to reach a wider audience – to find out preference.
I had also contacted the orchestras librarian, Richard Payne regarding manuscripts and scores earlier in the research stages as I fancied doing something more orchestral performance based. Now having chosen (due to lack of email response), to focus on music that is easily accessible and is influential both personally and to other players, I can source scores and editions easily and I am sure if I bump into him at orchestra – he will give me some useful advice.
However with chats with James Scanlan about this and my previous idea about orchestral accessibility where it would be difficult and you are relying already on current templates and their response quickly.
Due to injuries – I haven’t had the chance to meet up with Gavin, and he has been busy with his course – so hoping to arrange a meeting the week of the 8th of December if not before Christmas definitely for some chat and direction of where we are at and thoughts.
Anyway I hope I get some replies soon cause would be good to know if they are keen on being involved with the listening sessions.
I will provide these emails as part of my portfolio, due to confidentiality I won’t be posting this evidence via this blog post.
As part of the project, think it may be useful thinking about the harmony so thought I would go through the Sarabande and highlight chords and important notes. So as promised I said I would have a look and analyse some things.
Here is the original score of the Sarabande from the second Partita of the set.
Bach’s original manuscript of the Sarabande
So to make it a bit easier for my regular player reading – I made a copy of the score of the Augener edition and did some highlighting -The orange indicates the bass notes I should accentuate – according to rulings of how to perform Bach.
Shown above – I felt it would be easier to break it down by colour – So Yellow indicates areas that make up chords/broken chords/harmonic importance. i.e bar 1 = Full D minor chord followed by a broken G minor chord using the root and 3rd.
Orange colour shows the bass notes in the score – which I felt as a performer and as a composer that he wants you to play and accentuate – which many editions may have a tenuto mark
The Green hightlights I wanted to show important notes for the harmony or any change of key which would suggest modulations such as C sharps show leading notes into D major/minor and extra flats or sharps.
I also did some videos that are documented in some videos submitted as part of my folio, however I felt it was more necessary to try start some blogging about it
Basic string harmony is more my cuppa tea and I do find chordal harmony difficult – especially when this is so similar to his chorales and harpsichord and four part writing – as he’s mimicking his harpsichord if you like -yet still emphasising the string sound. So finding analysis hard to get my grips around – especially when his harmony is very hard to work out, as there is so many options and no one really knows.
There is also very little Analysis being done of this particular movement – the Chaconne – I could find screeds and many different ideas about harmony and chords – but nothing at all on this Sarabande – which is a shame – cause it could help me to at least get started in terms of ideas of progressions etc.
With the Sarabande the opening chordal sequence is i-iv-viii-v-i-bviii
This flattened seventh chord could also be V7 in the key of F major. Bach did lots of modulations which are quite difficult to find without having studied it intently – which I haven’t had the skills or chance to recently.
Finding this sort of analysis really difficult – so I’m thinking I will do some motif analysis or just making it clear that these notes should be emphasised because of the suggested harmony and movement of melodic lines.
OH but one important think I found within the score was the descending base line that is the subject of the Chaconne (which replaces the Gigue at the end of the Partita)
Which I highlight in red pen (shown above)
Maybe its time to a little more analysis like that – seeing if areas from the other sonatas work.
Back to the drawing board to find other details within the score/piece of music.
So as part of meeting one of my objectives “produce a set of variable recordings that evoke the use of authentic methods in contrast to contemporary methods of practice”, I need to have an awareness of the equipment that I will be using for the recording. I’m not sure if I have said already but I will be working with Gavin McDougall, a student at Glasgow Caledonian University – in his honours year too doing a project (see more here). He is trying to produce recordings with keep to the traditions of natural based recording and finding spaces that compliment the production. He is looking to break the barrier of studio based recording and taking modern recording to be natural based to produce best ambience. Our ideas co-inside as I am wanting to produce recordings that are as aesthetic to the style (baroque) and we seem to be on board with plans to meet up and do the recordings. It is quite simple for him to get on with the recordings himself and I to practice for the recordings (haven’t chosen what pieces yet).
We have taken note of the equipment that he will be using for this.
Apple MacBook Pro
Avid Protools 11
2 channel audio interface
a diaphram condensor microphone
zoom audio recorder (room/ambient microphone)
He will be using these sets of microphones because they are multi-functional for his project and has used them before.
The specific microphones he will be using is an Cardioid Capacitor Microphone (AT 3035)
Audio Technica AT3035
This mic works well in real-life situations, its also inexpensive for a large-diaphragm condenser mic and is good at recording violin. Form recording back in the HND I remember placement was one of the most important factors (more so than the mic used). I remember placing the mic over the my left shoulder-which wasn’t in my way, and also yielded a mellower tone.
He also mentioned he may use a SE Electronics X1 condenser microphone – as he has one himself. Again like the AT, its good for capturing that natural essence – ideal for acoustical recording techniques.
SE Electronics X1 Condensor Microphone
From what I remember If you want the violin to cut through the mix and sound a bit more modern, I’d use a small diaphragm condenser (possibly a used ATM450 or like what Gavin has suggested which he has access to)
For a more ‘vintage’ sound or for violin tracks that sit better in a mix, a good ribbon mic is a possibility. I haven’t had direct experience with any and remember my lecturer mentioning Cascade mics but will have a more detailed chat with Gavin when we meet face to face. Theres not a lot we can do till I have learnt what I will be playing.
I’ve also had a think about other mics that would be ideal for this set up of having something overhead – which I may consider buying for myself. (for the moment I will just record via my iPhone for practice and such.
Had a look into the MiC 96K.
MiC 96K Condensor Mic
This Apogee product is a studio quality cardioid condenser microphone, which I can just plug in to a Mac device and record. It is designed for vocal and acoustic instrument recording and is good for recording interviews, podcasts, voice overs, and audio for DSLR video. (which is all ideal for my project objectives and portfolios. It also works with GarageBand.
My only issue is, I do not have a mac, however, my packard bell notebook is going to be replaced by a MacBook Pro so once I get some money together I will get the MacBook and see how funds take me to purchase this microphone. I will also have a chat with Gavin and see what he thinks – as I’m sure he can recommend the most suitable thing for me personally.
Obviously in terms of the project, this will be a learning curve, as I don’t have much experience in Recording so as part of the process in semester 2, I am sure I will learn a lot from the experience and pick into Gavin’s recording head brain.
The pictures below shows roughly the set up I will be most likely following for the recording set up. Again this will be decided nearer the time and with some discussions with Gavin, which hoping to have soon.
There are so many editions out there roughly 50 if not more for Bach’s solo violin Sonatas and Parititas, its a little of a daunting task trying to figure out where to begin. There is about 40 recordings if not more of his work.
Currently I have an Auger Edition (revised by Tivadar Nachèz) which I bought a long time ago in a Oxfam Music Shop for £2.49. I have asked for christmas an Urtext Barenheiter edition which is a carbon copy of the original score with suggested fingering in a separate book with in.
I have also had a look at the original score of the Sonatas and still have some deciding at what to focus on – although its looking like one of the slow movements as I will be able to show more contrast in styles.
So today I came up with a list of important 20th C Editions and had a scout about on the site music room.
Here is a list I came up with some of the Important Twentieth-Century Editions with the year published, who did the edition (player), place and publishing company which will make it easier to source back to later on if I change my mind what I am using.
(1908) Joachim / A. Moser, Berlin: Bote und Bock
(1915) Capet, Paris: Sénart
(1917) Auer, New York: Fischer
(1919) Busch, Bonn: Simrock
(1921) Hubay, Wien: Universal–Edition
(1922) Marteau, Leipzig: Steingräber
(1922) Herrmann, New York:Schirmer
(1925) Eldering, Mainz: Schott
(1930) Flesch, Leipzig: Peters
(1935) Garcin, Paris:Salabert
(1940) Havemann, Berlin: Bote und Bock
(1950) Luther, Kassel: Bärenreiter (Facsimile)
(1958) Hausswald, Leipzig: un WiesbadenInsel–Verlag (Facsimile)
So I have had a good wee think about appropriate sources for looking for early performance methods and from research from Boyden, Stowell and Stanley Sadie, I felt I needed to highlight what are the most important materials out there, that is relevant to what I am trying to achieve.
From all these books, they all seem to relate to these three 18th century violin treatises (Italian, German and French) all created in the space of the decade 1851-1761. (Also sometimes Tartini) These are Geminiani, Leopold Mozart and L’Abbé Fils.
They all summarise traditions of playing and performance. However, a paradox exists in that both too few and too many details of violin playing are known – which makes this project really difficult.
Certain questions cannot be answered with self-assurance or confidence and that itself brings with it a confusing array of answers within the boundaries of accepted practice. This also highlights to a conclusion already that there is not one – but a variety of 18th century styes of performance.
Geminiani, whose works provide a vital link between the Italian tradition from Corelli to Tartini, who are both composers and made studies of violin playing (earlier). Geminiani was a student of Corelli in Rome and Scarlatti in Naples, and came to England in 1714 after the death of Corelli and never returned to Italy.
He enjoyed a fantastic success as a virtuoso in England in which he is known as I guess an english perspective as he played for King George with Handle as his accompanist in 1715. He later grown prestige as a composer, teacher and theorist. (Groves) Describes how it is said to have a malicious idea against the composer Geminiani; in Naples Burney said Geminiani was discharged from the opera orchestra in Lucca for “frequent absences.” [1]
Geminiani wrote a lot of music for his treatises where he including twelve compositions for The Art of Playing the Violin and various exercises. The author Donington characterises Geminiani as being only a “moderately good composer,” [2] but Boyden also highlights how the value of the composer’s works is important by saying that they are undervalued and overshadowed by other composers like Vivaldi. This is also a reason why I am looking into Bach as a possible avenue – as yeah he is important and everyone plays it nowadays – but to think that its been overshadowed by you must play it this way. Like someone could interpret a piece more like Vivaldi or a piece of Bartok or 20th Century or ‘romantic’ or ‘contemporary.’
Geminiani in my opinions shows his teaching skills specially with his large circle of pupils that were influenced by him. He was respected and celebrated for his skills on the violin at the time which was very English prose in style. His contemporaries seen him as a superior player even to Veracini who was amazing at the time. Tartini characterized him as “the violent one” [3] and Burney noted about his “overwhelming technical audacity.” [4]
There has been loads of reprinting, translating and copying his work – shows that his style was widely read by musical public in the 18th Century. It was at one time thought that The Art of Playing the Violin was a reprint of an anonymous violin method, Volens Nolens, published in London in 1695.
All of this is cleared up in Boyden’s article Acta Musicologica, February, 1960 where a simplified version of Geminiani’s treatise was published after his death by a pupil of Festing called Stephen Philpot.
I’ve found Boydens book The Art of Playing the Violin great at giving me some good background and methods. He describes a lot of how Geminani and others like him, have significant historical importance to us and how much of the material they wrote is still applicable to contemporary technique. (box ticked – can use it on both instruments)
This treatise was written during the last period of his life, and was the most successful of his works. Though certainly not the first violin method. It covers adequately the technical basics necessary to cope with about any violinistic problems at the time, aside from virtuosic pieces such as the Locatelli Caprices.
This treatise was the first violin treatise addressed to professional violinists themselves and reflecting their practices (Italian tradition which would have been for Corelli and his pupils) The work bases itself on the traditions which had dominated Europe for two centuries.
Instruction of this was necessary to the education of the post-Corelli generation; Locatelli, Veracini and Geminiani himself. The pieces remind me of folksongs – obviously english, scottish or even irish perhaps.
A Treatise of Good Taste in the Art of Music is very brief but centres on subject of “good taste” – which at that sort of time really just meant about how to use ornamentation in a refined but cultured manner. Both works show ornaments and
Both works show pictures of ornaments which are carefully described in how to do but even then its about imagination. Musicians at the time were expected to use their interpretation and the music to be brought alive not necessary through the exact notations of the score i.e. Corelli’s Adagios – written very plainly but usually performed ornately.
Geminiani’s belief was that technique was “inseparable from emotional expression” so an expressive performance was shown by means of dynamic swells and ornaments and use of vibrato. The composer meant expression in a general sense, not in the descriptive like French treatises.
Geminiani hated the French ways of producing dance music with the rile of the down bow calling it “wretched” [5]. He didn’t like the idea of imitating bird calls, whistles, etc. [Not until 1750 did French aestheticians concede that music need not represent anything concretely.]
His main idea was that the singing voice is the most appropriate model for violin sound and this is still very much useful today.
Geminiani suggests different chromatic fingering, ways to extend on the instrument and contrations of fingerings and the idea of continuous vibrato. BUT BUT BUT in comparison to Mozart’s work (1756), Geminiani’s looks primarily to the past for example – the way of holding the instrument is old-fashioned (more suitable to his fingerings). This is difficult for me personally – with having such a long neck – I don’t have any grip or balance and tension just happens everywhere – So i will have to play with a more modernised stance.
Unlike Mozart, Geminiani mentionsnothing about consecutive trills, trills in thirds and sixths or harmonics and using higher positions to preserve the same tone color within a passage. A primarily difference with Mozart is about how to produce continuous vibrato with Mozart recommending that vibrato should be restricted to a closing note or any sustained tone: “Performers there are who tremble consistently on each note as if they had palsy.” [6]
Thought it would useful to show you how Geminani organises his treatise
I. Subject area:
Position violin is held: general controversy over collarbone or chin hold, and where chin is held; middle, right or left?
Position bow is held; implied bow grip above the nut.
Fingerings**
Vibrato; continuous, not just an ornament
Seven positions (“orders”)
Multiple stops; unisons to octaves
Dynamics
Bowing; detests the “rule of the down-bow”
Tempo Rubato: notorious for, mentions nothing of.
Notes inégales; forbids these saying they “alter and spoil the piece.”
** Fingering: (a) Chromatic fingering; one finger per note, rediscovered in 20th century; (b) Extension and contraction; a speciality of Geminiani; (c) Frequent shifts. Burney states that Geminiani claims invention of the half-shift but the composer’s claim, if accurate, is doubtful. Geminiani favors larger shifts to reduce the number of shifts.
II. Ornaments
Plain Shake
Turned Shake
Superior appoggiatura
Holding a Note
Staccato
Swelling Sound
Falling Sound
Piano
Forte
Anticipation
Separation
Of the Beat; mordent
Close Shake (Vibrato)
References
Stanley Sadie. 1980. The New Grove Dictionary of Music and Musicians, ed. London: MacMillan Publishers p. 224
Donington. 1969. A Treatise of Good Taste in the Art of Music (1749), facs. ed. by Robert Donington. New York: Da Capo, chapter vi.
Groves, Ibid.
Ibid.
Francesco Geminiani.1952. The Art of Playing the Violin. London; Oxford University Press. p. 4.
Boyden. 1965. The History of Violin Playing from Its Origins to 1761 and Its Relationship to the Violin and Violin Music. London: Oxford University Press. p. 387.
Since my project ideas have changed again – and as part of my ideas for the project I will need to show I have an idea of early sources of pedagogy for violin to begin comparing appropriate treatises with modern methods of practice I’ve spoken to my teacher and looked over my notes from my treatise last year and composed a list of sources under the countries and as part of my research will decide the most appropriate and apply into my practice of Baroque work since that is what I am fancying.
Italian Sources
1677 – Bartolomeo Bismantova with Compendio Musicale – has a chapter on Violin
1760 – Guiseppe Tartini with The compleat Tutor for the Violin
1770 – Guiseppe Tartini with Lettera…inserviente ad una importante lezione per i suonatori di violono
1791 – Francesco Galeazzi with Elementi teorico-pratici di musica con un saggio sopra l’arte di suonare il violino analizzata, ed a dimostrabili principi ridotta
French Sources
1637 – Marin Mersenne with Harmonie Universelle – Part II – Book IV
1711 – Michel de Montéclair with Methode faceile pour apprendre à jouer du violon
1761 – Duval L’Abbé le fils with Principes du violon
German Sources
1529 – Martin Agricola with Musica instrumentalis deudsch
1669 – Mathias Kelz with Epidigma harmoniae…à Violino, è Viola da Gamba
1677 – Johann Jakob Prinner – Musikalischer Schlissl – Chapter XIII (violin stuff)
1687 – Daniel Speer with Grund-richtiger/ Kurz-leicht und Nöthiger/ jetzt Wol-vermehrter Unterricht der Musicalischen Kunst – (Part III has violin stuff)
1756 – Leopold Mozart with A Treatise on the Fundamental Principles of Violin Playing
English Sources
1693 – John Lenton with The Gentleman’s Diversion, or the Violin Explained –
2nd edition published 1702: The Useful Instructor on the Violin
1749 – Francesco Geminiani with A treatise of Good Taste in the Art of Musick (all examples he gives are violin related
1751 – “ “ The Art of playing on the Violin
1765 – Carlo Tessarini with An Accurate Method to attain the Art of Playing Violin
At the moment I have a copy of Joachim’s methods for violin printing out anything from the above that looks like I can apply into my pre-production folio and thought process.
Also at this stage I’m going to have a little look more into Basso Continuo as it is something I may have to think about for whatever I pick – or at least to find out more about bass line and harmony.
lauren hamilton violinist 