Performing Ornaments in English Harpsichord Music. Part III
DOI:
https://doi.org/10.21638/spbu15.2023.104Abstract
The closer the study of the problems of executing ornaments in England comes to the eighteenth century, the more various scientific materials become available and the more connections are found with the continental countries of Europe. Among the many publications, it was necessary to refer to a large number of instructions books designed for learning to play various instruments, including the harpsichord, such as “The Harpsichord Master”, Playford’s publications of “An Introduction to the Skill of Music” (issued during 1694 and 1730), “The delightful companion, or, Choice new lessons for the recorder or flute” (published by Robert Carr), “The Compleat Tutor to the Hautboy; or the Art of Playing on that Instrument” (published by J. Walsh) and many other. Along with this, the number of publications devoted to the study of this period is constantly increasing in the 20th and 21st centuries. In this article, a task is undertaken devoted, on the one hand, to a comprehensive consideration of the mentioned materials, on the other hand, a critical assessment is devoted to their later scientific study. As a “starting” point the “Short, easy, & plain rules” of Cap. Prendcourt (c1700) supplied with an ornamentation table are taken. The realizations of ornaments from Prendcourt are studied in the context of English, French and German sources of that period. It is namely this angle of study which forced the authors to resort to scrupulous and detailed consideration of the many subtleties associated with the execution of various ornaments.
Keywords:
shake, tremblement, tremblement simple, tremblement détaché, tremblement appuyé, coulé, back-fall, fore-fall, plain note & shake, appoggiatura, doppelt-cadence, mordant, Vorschlag, Nachschlag
Downloads
Download data is not yet available.
References
References
1. Simpson, Adrienne. “A Short-Title List of Printed English Instrumental Tutors up to 1800, Held in British Libraries”. R. M. A. Research Chronicle, no. 6 (1966): 24–50.
2. Shute, John Derek. “The English Theorists of the Seventeenth Century with Particular Reference to Charles Butler and the Principles of Musik in Singing and Setting… 1636”. M. A. thesis, Durham University, 1972.
3. Lister, Craig L. George. “Traditions of Keyboard Technique from 1650 to 1750”. PhD diss., The University of North Carolina at Chapell Hill, 1979.
4. Woolley, Andrew Lawrence. “English Keyboard Sources and their Contexts, c. 1660–1720”. PhD diss., University of Leeds School of Music, 2008.
5. Carter, Stephanie Louise. “Music Publishing and Compositional Activity in England, 1650–1700”. PhD diss., The University of Manchester, 2010.
6. North, Roger. Roger North on Music being a Selection from his Essays Written during the Years c. 1695 — 1728. Transcribed from the Manuscripts and edited by John Wilson. London: Novello, 1959.
7. Burton, Martin C. “Mr. Prencourt and Roger North on Teaching Music”. The Musical Quarterly 44, no. 1 (1958): 32–9.
8. Tilmouth, Michael. “York Minster MS. M. 16(s) and Captain Prendcourt”. Music & Letters 54, no. 3 (1973): 302–7.
9. Corp, Edward T. “Further Light on the Career of ‘Captain’ François de Prendcourt”. Music & Letters 78, no. 1 (1997): 15–23.
10. Tilmouth, Michael, and Edward T. Corp. “Prendcourt, ‘Captain’ (François de)”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 20: 297. 2nd ed. London; New York: Oxford University Press, 2001.
11. Hughes-Hughes, Augustus. Catalogue of Manuscript Music in the British Museum <…>. 3 vols. Vol. III: Instrumental Music, Treatises, etc. London: Longmans & Co.; Asher & Co.; Henry Frowde; Oxford University Press Warehouse, 1909.
12. Whitten, Emma. “Synthesizing Styles: International Influence on Organ Music in Restoration England”. D. M. A. diss., Arizona State University, 2014.
13. Cooper, Barry. “English solo Keyboard Music of the Middle and Late Baroque”. Thesis of PhD diss., Oxford, University College, 1974.
14. Simpson, Christopher. The Division-Violist: Or an Introduction to the Playing upon a Ground. London: William Godbid, 1659.
15. Panov, Alexei A., and Ivan V. Rosanoff. “Performing Ornaments in English Harpsichord Music. Part II”. Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 4–32. https://doi.org/10.21638/spbu15.2022.101
16. Sancta Maria, Thomas, de. The Art of Playing the Fantasia (Libra Llamado El Arte de Taner Fantasia). Transl., transc., comment. by Almonte C. Howell Jr. and Warren E. Hultberg. 2 vols. Pittsburg: Latin American Literary Review Press, 1991.
17. Williams, Robert Forston. “Marin Mersenne: An Annotated Translation of the Fourth Treatise of the Harmonie Universelle. (Volumes I–III)”. PhD diss., University of Rochester, 1972.
18. Anonyme. The Compleat Tutor to the Hautboy; or the Art of Playing on that Instrument Improved and Made Easy by Very Plain Rules and Directions for Learners. Also a Choice Collection of Trumpett Tunes, Ayres, Marches & Minuetts Composed by the best Masters <…>. London: John Walsh, s. d. [1715].
19. Anonyme. The compleat Musick-Master: being Plain, Easie and familiar Rules for Singing, and Playing on the most useful Instruments <…> according to the Rudiments of Musick <…> [for the] violin, flute, hautboy, bass-viol, treble-viol, tenor-viol <…>. 3rd ed., add. London: William Pearson, 1722.
20. Mace, Thomas. Musick’s Monument, or, A Remembrancer of the Best Practical Musick <…>. London: T. Ratcliffe and N. Thompson, 1676.
21. Harley, John. “Ornaments in English Keyboard Music of the Seventeenth and Early Eighteenth Centuries”. Music Review, no. 31 (1970): 177–200.
22. Muffat, Gottlieb. Componimenti musicali per il Cembalo <…> [Augsburg], s. d. [c1735/40].
23. Bach, Johann Sebastian. Clavierbüchlein vor Wilhelm Friedemann. MS, 1720.
24. D’Anglebert, Jean Henry. Pieces de Clavesin <…> aveque la maniere de les Joüer. <…> Et les Principes de l’Accompagnement. Livre premier. Paris: l’Autheur, s. d. [c1689].
25. Beyschlag, Adolf. Die Ornamentik der Musik <…>. Leipzig: Breitkopf & Härtel, 1908.
26. Neumann, Frederick. Ornamentation in Baroque and Post-Baroque Music. With Special Emphasis on J. S. Bach. Princeton: Princeton University Press, 1978.
27. Chambonnières, Jacques Champion, de. Les Pieces de Claueßin. Liv. 1. Paris: Jollain, 1670.
28. Couperin, François. L’Art De toucher Le Clavecin <…>. Paris: L’Auteur, Boivin, 1717.
29. Johnston, H. Diack. “Ornamentation in the Keyboard Music of Henry Purcell and his Contemporaries”. In Performing the Music of Henry Purcell, ed. by Michael Burden, 82–104. Oxford: Clarendon Press, 1996.
30. Purcell, Henry. A Choice Collection of Lessons for the Harpsichord or Spinnet. <…> London: Printed on Copper Plates for Mrs. Frances Purcell, Executrix of the Author, 1696.
31. Anonyme. The Harpsicord Master Improved, containing the most perfect rules & easiest directions on 5 lines for learners With a choice collection of the newest & most airy lessons, with variety of passages by Mr. Babel, to which is added, a choice collection of psalm tunes as they were play’d with their interludes by Mr. Daniel Purcel, they being fit for the use of all young organists. London: Daniel Wright, 1718.
32. Dannreuther, Edward. Musical Ornamentation, ed. by John Stainer. 2 parts. London; New York: Novello, Ewer and Co., s. d. [c1893/95], pt. 1.
33. Ferguson, Howard, ed. Early English Keyboard Music: An Anthology. 2 vols. London; New York; Toronto: Oxford University Press, 1971, vol. 1.
34. Brown, Alan. “England”. In Keyboard Music Before 1700, ed. by Alexander Silbiger, 23–89. 2nd ed. New York: Routledge, 2004.
35. Loulié, Étienne. Elements ou principes de musique Mis dans un nouvel Ordre. Paris: Chr. Ballard, 1696.
36. Rousseau, Jean. Méthode Claire, certain et facile, pour apprendre a chanter la musique. <…> A batter la mesure a toutes sortes de mouvemens. Paris: Christophe Ballard, 1683.
37. Loulié, Étienne. Elements ou principes de musique Mis dans un nouvel Ordre. Amsterdam: Estienne Roger, 1698.
38. Saint Lambert, de. Les principes du clavecin, contenant une explication exacte de tout ce qui concerne la tablature & le clavier. Paris: Christophe Ballard, 1702.
39. Principles of the Harpsichord by Monsieur de Saint Lambert. Translated and еdited by Rebecca Harris-Warrick. Cambridge: Cambridge University Press, 1984.
40. Étienne, Loulié. Elements or Principles of Music. Translated by Albert Cohen. New York: Institute of Mediaeval music, s. d. [1965].
41. Marpurg, Friedrich Wilhelm. Anleitung zum Clavierspielen, der schönern Ausübung der heutigen Zeitgemäss entworfen. Berlin: A. Haude & J. C. Spener, 1755.
42. Hays, Elizabeth Loretta. “F. W. Marpurg’s Anleitung zum Clavierspielen (Berlin, 1755) and Principes du Clavecin (Berlin, 1756).” PhD diss., Stanford University, 1977, vol. 2.
43. Boyvin, Jacques. Premier Livre d’Orgue. Paris: Mr. de Baußend, Mr. le Maire; Roüen: l’Auteur, s. d. [c1689/90].
44. [Marpurg, Friedrich Wilhelm.] Die Kunst das Clavier zu spielen, durch den Verfasser des Critischen Musicus an der Spree. Berlin: Henning, 1750.
45. Anonyme. The compleat tutor for the violin containing the best and easiest instructions for learners to obtain a proficiency. To which is added a choice collection of the most celebrated Italian, English, and Scotch tunes, with several choice pieces for 2 violins. London: John Johnson, s. d. [c1695].
46. Couperin, François. Pieces De Clavecin <…> Premier Livre. Paris: L’Auteur, Foucaut, 1713.
47. Muffat, Georg. Suavoris Harmoniæ Instrumentalis Hyporchematicæ Florilegium Secundum <…>. Passau: Georg Adam Höller, 1698.
48. Georg Muffat on Performance Practice. The Text from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik. A New Translation with Commentary, edited and translated by D. K. Wilson. Bloomington; Indianapolis: Indiana University Press, 2001.
49. Corrette, Michel. Méthode Raisonnée pour apprendre aisément à jouër de la Flûtte Traversiere <…> Nouvelle édition, revûe corigeé et augmentee <…>. [Paris]: [Undefined publisher], s. d. [c1753].
50. [Carr, Robert.] The delightful companion, or, Choice new lessons for the recorder or flute to which is added, several lessons for two and three flutes to play together: also plain and easie instructions for beginners, and the several graces proper to this instrument. 2nd ed., corr. London: John Playford, s. d. [c1686].
51. Locke, Matthew. Melothesia, or, Certain General Rules for Playing upon a Continued-Bass with a Choice Collection of Lessons for the Harpsichord and Organ of All Sorts <…>. The First Part. London: John Carr, 1673.
52. Nivers, Guillaume-Gabriel. Liure d’Orgue Contenant Cent Pièces de tous les Tons de l’Église. Paris: l’Autheur et R. Ballard, 1665.
53. Anonyme. The Harpsichord Master. X.th Book Containing Plain & easy Instructions for Learners on the Harpsichord or Spinnet with a Compleat explanation of Graces & the true manr of Fingering ye Keys also an exact method of tuneing the Harpsichord & Spinnet <…>. London: J. Walsh, 1725.
Downloads
Published
2023-03-30
How to Cite
Panov, A. A., & Rosanoff, I. V. (2023). Performing Ornaments in English Harpsichord Music. Part III. Vestnik of Saint Petersburg University. Arts, 13(1), 62–106. https://doi.org/10.21638/spbu15.2023.104
Issue
Section
Music
License
Articles of "Vestnik of Saint Petersburg University. Arts" are open access distributed under the terms of the License Agreement with Saint Petersburg State University, which permits to the authors unrestricted distribution and self-archiving free of charge.
