R-3 Repository :: Browsing by Author "Schnoebelen, Anne"

Browsing by Author "Schnoebelen, Anne"

Now showing 1 - 20 of 20

Alberto Ginastera's three piano sonatas: A reflection of the composer and his country
(1991) De Los Cobos, Sergio; Schnoebelen, Anne
The study of Ginastera's three Piano Sonatas can be viewed as an example of the composer's general development. The historical context in which Ginastera lived is an important departure point. His native country, Argentina, was originally the home of the Incas who practiced music, although at a primitive stage. The first foreign influence was the Spanish colonization in 1516. After Argentina's independence in 1816, the figure of the gaucho appeared; it was a legend of the pampas and a constant source of inspiration for the Argentine nationalistic culture. A new European immigration further reinforced western music in Argentina and inspired the country in its search for a cultural identity. Ginastera's output is often catalogued in three periods: Objective Nationalism, Subjective Nationalism, and Neo-Expressionism. A parallel can be drawn between Ginastera's evolution as a composer and Argentina's development as a cultural entity. The first Sonata shows the influence of Bartok and Stravinsky as well as Argentine folk elements, among which we recognize the guitar symbolism. The second Sonata goes back to the pre-Columbian era, inspired by primitive Indian melodies and rhythms. To these Ginastera adds an advanced atonal language, including chromatic clusters and microtone effects, thus bringing the dissonance to an extreme level. The third Sonata mixes both sources of inspiration. As a synthesis of the previous two sonatas, it shows a tendency towards balance and greater economy. All three works show an evolution, but also reflect similarities: the importance of the third interval, the melodic exaltation, the strong rhythms, and the sense of magic.
Ambiguous and fragmentary notation in Mozart's Piano Concerto in C minor, K.491: A survey of possible solutions for interpretation and completion
(2001) Pawlas, Dariusz; Schnoebelen, Anne
Numerous problems for the performer of Mozart's Piano Concerto in C minor have been encountered through the examination of the manuscript autograph, editions, and recordings. Although the autograph and various editions have been studied before, this is the first discussion to include over sixty recordings of this concerto as well. Legibility of text and other editorial issues constitute one category of problems. Examples presented in Chapter 1 suggest that generally accepted readings of ambiguous passages found in different editions should not be considered as the only possible options for pianists. Shorthand methods and incomplete notation are discussed in Chapter 2. The fragments appearing sketchy and requiring or allowing for completion are examined. The particular cases of octave leaps (measures 142--45, 155--57, 159--63 of the third movement) and unreasonable interruption of sixteenth-note flow (first movement, measures 261--62 and 467--70) are presented in Chapters 3, 4, and 5 respectively, along with many ideas for elaboration in these places. Fermata embellishments are not discussed in this study; however, comprehensive lists of available cadenzas and Eingange are provided in Appendix A. Two original cadenzas to the first movement by this author are included in Appendix B.
Approaching late nineteenth- and early twentieth-century French organ works with small hands
(2001) Jouett, Janet Salassi; Schnoebelen, Anne
Cesar Franck, Charles-Marie Widor, and Louis Vierne were among the most important figures in France during the nineteenth and early twentieth centuries. They made an enormous contribution to organ literature and the organ playing tradition. However, many of their compositions have proved difficult to execute for organists with small hands. Throughout the organ works of Franck intervals greater than the octave abound. In numerous pieces by Widor and Vierne, melodic intervals or cords are positioned in such a way that precise attacks and releases are challenging. This document demonstrates solutions to the various problems that organists with small hands encounter in playing the literature from this period.
Contemporary Canadian flute repertoire: An analysis of selected works and catalogue of selected genres
(1996) Payne, September Anne; Schnoebelen, Anne
The purpose of this study is to provide an overview of contemporary flute repertoire by Canadian composers. Largely unknown outside of Canada, the works that are featured in this document represent a sampling of the diversity of styles and idioms in Canadian music. To provide a context for understanding current trends and directions in Canadian music, a brief history of music in Canada is summarized. This history discusses the strong link between the Canadian national character and the music that is the subsequent product. Seven works, representing a variety of styles and genres, are analyzed in detail to provide the potential performer with sufficient information and understanding of their idiom, construction, compositional style, historical context, and contemporary techniques. Brief biographies of each selected composer are also included. Both traditional and non-traditional methods of analysis are used as a means to provide an accurate description of each work. The Catalogue of Contemporary Canadian Flute Repertoire: A Performer's Guide, included in this document (Volume II) provides as comprehensive a listing as possible. It is this author's hope that by providing the resources to explore this large body of work, this deserving artistic output will receive greater recognition and increased performances both in the professional and academic worlds.
Francesco Geminiani's six cello sonatas: commentary and performing edition
(1980) Rennie, Ellen Judd; Cooper, Paul; Schnoebelen, Anne; Trepel, Shirley
Francesco Geminiani (1687-1762) was considered to be an eminent composer and one of the finest violinists of his day. Yet modern scholars have generally overlooked him in favor of other masters such as J.S. Bach and George Frederick Handel. The reasons for this neglect are multifaceted. Most present-day music historians have relied upon the accounts of Charles Burney and Sir John Hawkins as the sole source of their information concerning Geminiani's life and musical skills. While these two histories offer interesting insights into eighteenth-century musical practices, they are often biased and the facts frequently misleading since both authors depended heavily upon memory and hearsay evidence for their accounts. The criticisms of Geminiani found in these documents have undoubtedly tinged the attitudes of twentieth-century scholars toward the Italian master. The scarcity of readily available performing editions has greatly hindered the performance of Geminiani's works and has further impeded efforts to obtain a true understanding of Geminiani’s contributions to the development of music and musical style. Such an understanding is not easily attained since Geminiani represents an enigma in music history. His compositions and treatises obviously reflect his ties to the Baroque traditions of composition and performance. Many of his tenets, however, were so far in advance of their time that they required rediscovery in the nineteenth and twentieth centuries. Because he represents such an enigma, scholars have been unable to place him neatly in one of the accepted periods of music history. These same scholars have, therefore, considered Geminiani to be a "transitional” figure in music history and have relegated him to the rather nebulous domain of the pre-Classical era. As a "transitional" figure, Geminiani's works have not been judged upon their own merits but rather in comparison with the works of his more well-known contemporaries. Although his compositions and treatises are uneven in quality, they stand as important documents for any student of Baroque performance practices. The purpose of this thesis is to analyze Geminiani's contributions to the literature and development of Of music. This analysis will be effected by means of a study of Geminiani's Six Sonatas for Violoncello and Basso Continuo, Op. 5 which were originally published in Paris and at the Hague in 1746. These same works were subsequently printed in London in 1747. The second part of this project is a new performing edition of the six sonatas in which, it is hoped, the figures of the basso-continuo have been realized in such a manner as to reveal the composer's ideals of accompaniment and good taste in the performance of his works.
Historical and theoretical perspectives of Arnold Schoenberg's "Drei Klavierstuecke," Opus 11
(1989) Clinton, Mark Kennerly; Schnoebelen, Anne
The purpose of this study is to synthesize various analytical approaches to Schoenberg's Drei Klavierstucke, Opus 11, into a comprehensive understanding of the work. As the first complete published work in an atonal idiom, this piece has been the focus of numerous disparate analytical techniques. This document attempts to combine a variety of traditional analytical methods (historical-stylistic and formal-descriptive perspectives) with non-traditional approaches based on pitch symbolism, Schoenberg's fascination with numerology, and an underlying correlation between the Opus 11 pieces and Wagner's Tristan Prelude. An examination of correspondence between Schoenberg and the pianist, conductor, and composer, Ferrucio Busoni provides further insight into the aesthetic of the Opus 11 pieces. The focus of the Schoenberg-Busoni letters is Opus 11, no. 2, which Busoni arranged in a concert transcription. While both men were seeking the common goal of a new means of musical expression, Busoni's criticisms of the composition are particularly interesting in light of his roots in nineteenth-century Romanticism. A discussion of editorial questions surrounding the Drei Klavierstucke, Opus 11, completes the synthesis of analytical approaches. A comparison of the manuscript, two Handexemplare, and the collected edition provides insight into questions of editorial responsibility and performance practice in the work.
J. S. Bach's Partita in E minor, BWV 830: Motivic analysis and its influence on interpretation
(2000) Park, Sohyoung; Schnoebelen, Anne
The E minor Partita of J. S. Bach involves one of the most controversial issues among musicologists and performers, the rhythmic interpretation of the last two movements: Tempo di Gavotta and Gigue. There are two views: one supporting duple subdivision of the beat as notated, and another choosing triple subdivision of the beat, which modifies what is notated. In the first chapter, the author discusses the coherent use of three basic motives---a minor second motive, a consecutive descending four-note motive, and a repeated-note motive---in the E minor Partita and the functions and effects of each motive in different movements. In the last two chapters, the author demonstrates how the motivic structure of the piece can influence one's interpretative decisions, such as articulation and grouping and especially rhythmic interpretation of the Tempo di Gavotta and Gigue movements.
Louis Vierne and his unfinished "Methode d'Orgue"
(1999) Shi, Jian Guang; Schnoebelen, Anne
Louis Vierne, one of the most important figures in the rich French organ literature of the late nineteenth and early twentieth centuries, made a substantial contribution in the cultivation and the promulgation of an organ playing tradition which was initiated by Belgian organist Jaak Nikolaas Lemmens. Vierne's aesthetics concerning organ and organ playing were most explicitly given in a treatise which he began during the First World War but never finished in his lifetime and remained unknown to the public until fifty years after his death. This important document was published by Les Amis de l'Orgue in 1987 as a special issue of their periodical L'Orgue together with an introductory article and editorial remarks by the Belgian musicologist Dr. Brigitte de Leersnyder. With an English translation of the aforementioned document, a lengthy biography dealing mainly with Vierne's organ profession, and a survey of the organ methods in Lemmens' tradition, the present study tries to demonstrate Vierne's role in that tradition and aims at providing organists a tool for an authentic interpretation in their performance of Vierne's organ works.
Music From The Red Pony - Film Music by Aaron Copland
(1989) Tucker, Aubrey; Burt, George; Schnoebelen, Anne; Milburn, Ellsworth
As the motion picture in the twentieth century's unique contribution to the dramatic arts, academic attention to the study of film music is more than justified. The greatest hindrance to research is the unavailability of many film scores. The film composer's task is specialized, demanding the ability to create quickly and coolly under pressure. Aaron Copland developed as a dramatic composer from the beginning. While studying in Paris, he was influenced toward seeking an accessible and uniquely American style. His arrival at that style in the late 1930's preceded an invitation to compose music for films. Analysis of the original score for The Red Pony reveals Aaron Copland as a skillful and artistic film composer. The Copland music is also discussed as it relates to other aspects of the film. Copland was a dominant influence on film scores after 1940, particularly concerning themes of Americana and the West.
Nineteenth-century organs in Peru and the special case of Innocente Foglia
(2002) Kloeckner, Phillip David; Schnoebelen, Anne
Although most of the organs found in Peru today were imported from Europe during the hundred years that followed independence and the establishment of the Republic (1821), only a few of this large and unique collection have been studied and evaluated. These instruments attest to a vibrant and varied use of the organ in ecclesiastical contexts that continues a long and consistent tradition, well documented from the beginnings of the viceregal era in 1535. Among the surviving nineteenth-century organs in Peru, those built by the Italian immigrant Innocente Foglia stand out because they appear to be the only organs constructed in Peru during this period of the Republic. All the Foglia organs known at present are in prominent churches in major cities and exhibit an amalgamation of various national styles, both Romantic and pre-Romantic. Innocente Foglia is also known to have repaired and restored many of the imported European organs in Peru. Basic biographical information about Foglia, recently discovered by this author and presented here for the first time, begins to shed light on the role of this unique figure in the history of the organ in Peru. A number of large and small organs exported to Peru from Belgium and France further enhance the view of Peru as a place where the organ was of primary importance in liturgical celebrations during much of the nineteenth and early twentieth centuries. This author presents the previously undocumented specifications and locations of numerous organs, several of which were unknown before this study. Also, one of the three organs in Peru built by the Parisian builder Aristide Cavaille-Coll is tentatively identified as the "Santa Cruz" organ, which in the records of the Cavaille-Coil company is listed as having been shipped to Bolivia. The first English translations of several manuscripts and articles in French, Spanish, and Italian are included in this document.
Strange Attractors. (Original composition);
(1990) Colson, David John; Schnoebelen, Anne
Strange Attractors is an orchestral composition in five parts in which the musical ideas of the first three sections become progressively unique to the basic idea of the opening introduction. The final two groups of musics gravitate back towards the original musical statements and/or quote previous ideas. Continuity of each of the sections is generated by the alternation of pitch and rhythmic stability/instability. The melodic and harmonic materials are based on three pitches and their permutations. Each of the 32 instrumental parts of the orchestra are treated equally; one instrument or group of instruments does not dominate the ensemble. While composing Strange Attractors, I wanted to make a piece of music that was immediately listener-friendly and enjoyable for the musicians to perform. Strange Attractors is scored for the following instrumentation: 3 flutes (picc.), 2 oboes, English horn, 2 clarinets (in A, bass clarinet (in Bb), 2 bassoons, contrabassoon, 4 horns (in F), 3 trumpets (in C), 3 trombones, tuba, harp, timpani, 2 percussion, violin I, violin II, viola, cello, and double bass. The score is in C. The duration of the work is 13 minutes.
Symphonic movements
(1985) Hughes, Jerald Kirk; Jones, Samuel; Milburn, Ellsworth; Schnoebelen, Anne
Symphonic Movements is an orchestral composition in three movements: Presto, Lento, and Allegro con brio. The harmonic and melodic material is based on several forms of the octatonic scale. Themes are basically variations on two germinal ideas, one conjunct: mvt. I, measures 4,5, and one disjunct: mvt. Ill, measures 25,26. The disjunct theme appears briefly in the first movement, assumes greater importance in the second movement, and is the main theme of the final movement, thereby giving the work a cyclic aspect. The first movement is a large A-B-A form, in which the first A consists of three short passages, the B consists of one extended passage, and the final A is three more short passages. The movement goes through a series of tonal areas, including the tritone axes of C/F# and D/G#, ending in D. The second movement is a simple A-B-A form, in which the first A section is repeated unchanged in the final A section. This movement begins in D, moves to B flat for the B section, and closes in D. The final movement is an original form which combines elements of both sonata and rondo. Its tonality is G, and the tritone axis G/D flat plays an important role throughout.
The Chopin "Etudes": An indispensable pedagogical tool for developing piano technique
(1989) Klein, Andreas; Schnoebelen, Anne
Today's pianists perform with a high degree of technical efficiency and versatility demanded by the recording industry and expected by audiences world-wide. The piano student with aspiration towards a major performing career needs to develop such standard of skill in order to find recognition in the competitive musical scene. It is the obligation of every pedagogue to introduce specific pieces to the student at the appropriate time which give him or her a calculated technical challenge. Even though exercises are usually a prominent part of the systematic training, most students dislike practicing them because they are mechanical and worthless towards building a performance repertoire. In addition, too much emphasis on technical studies will lead the student to think that skill is the most important goal of practicing. Therefore, the teacher has to find pieces which stimulate technical progress and feature musical beauty at the same time. The 27 Etudes by Chopin represent a collection of pieces which contain many technical and musical tasks. Compared to other etudes written in the early nineteenth century (e.g. by Czerny, Moscheles, Hiller, and Thalberg), they have earned superiority through their many pianistic and musical innovations. Because the Chopin Etudes were written over many years, they feature many similarities to other works by the composer which facilitates their performance. In addition, the thorough study of these etudes will give the pianist the necessary skill to deal with many other technical problems in late classical and romantic pieces. The Chopin Etudes are not suitable for the beginner. However, when the student has acquired proficiency with arpeggios, trills, and scales in the Baroque and classical repertoire, the Chopin Etudes will not only serve to expand the technical ability, but can be added to the performance repertoire as well.
The historical influences on the works for violin and orchestra by Ludwig van Beethoven
(1997) Er, Yenn-Chwen; Schnoebelen, Anne
Many nineteenth-century creative artists saw in Beethoven a substantiation of their own aesthetic ideals and propagated a "mythical" Beethoven who was unique in every respect of compositional styles and forms of music. This incorrect concept has continued to affect our understanding of the Classical period and many significant composers, of whom Beethoven was just one of them, were unduly ignored. Furthermore, this has also influenced our interpretations of Beethoven's music. This present document seeks to place Beethoven's works for the violin and orchestra in a correct historical perspective. These works include an incomplete version of the Konzertsatz (probably composed between 1790 to 1792), the two Romances in G major and F major, Op. 40 and 50; and the incomparable violin concerto Op. 61. Preceding the discussions of these works is a brief outline of the development of the concerto form from Giuseppe Torelli to Wolfgang Amadeus Mozart. The mature Classical concerto form which Beethoven used can best be defined as the ritornello-sonata form, a unique combination of the Baroque ritornello form and the Classical sonata principle. Subsequently, four violin concertos from the French Violin School (Giovanni Battista Viotti's concertos no. 22 and 23, Pierre Rode's concerto no. 7 and Rodolphe Kreutzer's concerto no. 19) are analyzed and compared with Beethoven's music. Many technical and formal similarities are detected between them. This research has also resulted in several practical applications in performing Beethoven's music. Placing Beethoven in the right context will free us from an over-cautious attitude towards his music. We should approach his music in the same way as composers such as Clementi or Viotti. In addition, since it is apparent that Beethoven was attempting to write virtuoso violin music in the style of the French concertos, we should bestow upon them a virtuosic flair in order to do the music justice. Other performance suggestions include the discerning use of vibrato and the feeling of pulses instead of beats.
The influence of Baroque dance in the performance of Johann Sebastian Bach's Six Suites a Violoncello Senza Basso
(1994) Qureshi, Rifat Javed; Schnoebelen, Anne
A major part of Johann Sebastian Bach's works was influenced by dance. Only recently, musician-scholars have begun to analyze carefully the effect of dance on instrumental suites from the Renaissance and Baroque periods. In the Six Suites a Violoncello Senza Basso, I discuss the evolution of the dances found in this collection (allemande, courante, sarabande, minuet, bourree, gavotte and gigue) and present their basic step patterns. Bach composed in a contrapuntally complex texture and on the surface obscured dance elements: yet, the dance pulse must be recognized and understood. In this study, the original violoncello part is reduced to its basic melodic structure and rhythmic pulses to reveal dance step patterns. The performer is given instruction on how to imitate these dance inflections with the instrument. Even though these instrumental suites were not intended to be danced to, the performer cannot ignore the importance of dance in this work. As a result, this knowledge will help the performer create spirited and intelligent performances.
The oboe d'amore in the works of Georg Philipp Telemann with critical editions of selected unpublished works
(1983) Collins, Dana Cristle; Milburn, Ellsworth; Schnoebelen, Anne; Cooper, Paul
The oboe d'amore, the alto member of the oboe family, enjoyed its most popular period between the years 172 and 176. While no date for the invention of the instrument has been established, the first known composition to use the oboe d'amore can be dated from as early as 1717. Composition for the instrument was restricted to composers living in the area bounded approximately by Hamburg, Munster, Vienna, and Berlin. The earliest known works which use the instrument are sacred vocal works and reflect an association with alto and tenor voices and texts dealing with love. Gradually, the instrument filtered through every aspect of early eighteenth-century musical society and works which utilized the oboe d'amore include cantatas, passions, operas, solo concerti, concerti grossi, orchestra suites, and chamber works. Georg Philipp Telemann (1681-1767), one of the most prolific and respected composers of his time, wrote extensively for the oboe d'amore -- at least twenty-two works which use the instrument can be attributed to Telemann. One of the first to write for the instrument, Telemann, unlike his contemporaries, composed in every medium available. Through an examination of Telemann's works for oboe d'amore, which comprise a central part of the instrument’s repertoire, it is possible to observe the development of composition for oboe d'amore, the dissemination of the instrument through musical society, and the style of writing which brought the instrument to the peak of its popularity. The writing is particularly instructive in regard to utilization of the instrument's color, range, and technical ability. In addition, consideration of the instrument helps shape the form of each work. Relatively few of Telemann’s works which use oboe d'amore are available in published editions. As a result, an overview of Telemann's writing for the instrument has been unavailable. Previous research regarding the oboe d'amore has centered in the sacred cantatas of J.S. Bach and in compiling repertoire lists, leaving an inaccurate impression of the general style and methods of writing for the instrument. The critical editions of four works provided in this thesis represent the various genres in which Telemann wrote for the oboe d'amore. In addition, each work displays Telemann's technical and aesthetic handling of the instrument. The analysis of these works, and description of the rest of Telemann's writing for the oboe d'amore provides a better understanding of the instrument in the context of the period of use from its invention to its virtual demise, an exploration of some of Telemann's best and most conscientious writing, and an insight into performance practice.
The organ works of Ned Rorem
(2002) Marsh, John David; Schnoebelen, Anne
Ned Rorem is one of America's most esteemed living composers and authors. His compositions span every genre of music. Although he had composed little organ music until he was in his 50's, his output since that time has been considerable for the instrument. To date, there are forty-three compositions for organ solo. He is the most prolific living American composer for the organ. Rorem says he writes music he wants to hear. He composes out of necessity because no one else is making what he needs. This document examines Rorem's organ works, identifying the features that make them unique and discussing their importance to the organ repertoire. It looks at his major organ works such as the large suites (A Quaker Reader, Views from the Oldest House) and the Organ Concerto , but also at the collections of shorter works (Organbooks I, II, III and Six Pieces for Organ) that are more accessible to the average organist. To my knowledge, no other written analysis of the organ works exist. A discography is included for those desiring to hear recordings of some of the organ works.
The ornamentation of the four flute concerti of Carl Philipp Emanuel Bach: An examination of their notations according to the original manuscripts, and a discussion of their executions according to eighteenth-century treatises
(1998) Guthrie, Kris Leanne; Schnoebelen, Anne
This document explores the ornamentations found in the four flute concerti of Carl Philipp Emanuel Bach. It considers C. P. E. Bach's and J. J. Quantz's suggestions for the execution of trills and appoggiaturas according to the directives found in each of their treatises, and it proposes a style of execution for the various types of trills and appoggiaturas written into the original manuscripts of Bach's flute concerti. Often the execution that works best goes against the conventional rule of on-beat performance of all embellishments. The document also examines any differences in notation of these ornaments between the versions for the flute versus their original versions for the keyboard. Many of the elaborate symbols used to notate ornaments in keyboard music are simplified in music for non-keyboard instruments, but the executions are still intended to be just as varied.
The six string quartets of Paul Cooper: an analysis and interview with the composer
(1979) Bennett, Elizabeth Ann (b. 1963); Kurtzman, Jeffrey; Schnoebelen, Anne; Cooper, Paul
By analysis, certain aspects of compositional process and style are discovered- Cooper’s works have grown from the pandiatonic style of his early years to an open style characterized by clear structure, however veiled, by lyrical themes of eleven or twelve notes, by free twelve-tone and contrapuntal techniques, by use of some unusual and effective textural sonorities, and by a logic, growth and unity of ideas throughout each work. Interviews with the composer allcry careful questioning and cross-examination of his compositional process and his aesthetic and philosophical views, as well as provide factual data on the background and reasons for writing a particular work. In the interview. Cooper reveals that basic structure is the initial consideration in his compositional process. When he has settled that issue, he can begin to develop the melodic motives of the quartet. Sketches are used to work out complex contrapuntal passages, but are rarely necessary otherwise. Notating a work is relatively rapid once its composition is more or less complete in his head. A few notes or markings may change from the original draft to the final copy; however, these are usually minor. An exception occurs when an intellectual premise may have prevailed over musical instincts. In this case, Cooper feels the ear must be the final judge. Variation, proportion, and unity are important philosophical or psychological concepts that Cooper incorporates into his works. More often they figure in the composer's instinct rather than in a deliberate or programmed manner. In addition, Cooper answered questions on the historical background of each work. Studies on works by significant living composers present the obvious appeal of personal discussion with the composer in an effort to understand his processes and preferences. Very few composers have made an effort and many are reluctant to describe the fundamental aspects of their style and the reasons or inputs behind it. While in-depth analysis may reveal stylistic qualities, the findings are greatly enhanced by responses to the penetrating questions that surface in such an analytical study -- responses that can only be rendered by the composer. Current history and current musicology can supply information for present understanding and vital resources for future considerations.
The use of Scordatura in Heinrich Biber's Harmonia artificioso-ariosa
(1982) Mitchell, Margaret Kehl; Schnoebelen, Anne; Fliegel, Raphel; Cooper, Paul; Kurtzman, Jeffrey
Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Although scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-174), a virtuoso violinist and composer. Scordatura appears in three of Biber's works -- the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso-Ariosa -- although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats. In Sonatae violino solo, scordatura appears to have been used as one of the many visual and technical experiments of the set Harmonia Artificioso-Ariosa, a set of seven trio sonatas, used scordatura primarily to increase the sonority of the work. All the tunings make the solo instruments more resonant, and the use of scordatura effects, such as unisons and multiple stops, increase the amount of sound produced. Biber's choice of key, instrumentation, and texture also contribute to the greater sonority of the set. Unfortunately, no reliable modern edition of the work is available. The only modern edition, published in the PenkmHler der Tonkunst in Usterreich series, is handicapped by numerous transcription errors and an incorrect statement of the title of the work. A corrected edition is necessary, for future scholarship and performance of Harmonia Artificioso-Ariosa require an accurate reproduction of the work. Historically, Harmonia Artificioso-Ariosa is one of the rare examples of two solo instruments in scordatura, and the work deserves further scholarly attention. For the modern performer, Harmonia Artificioso-Ariosa would expand the repertoire and provide a challenging and rewarding musical experience.

Browsing by Author "Schnoebelen, Anne"

Results Per Page

Sort Options