![]() ![]() Geminiani was 9 years younger than Vivaldi, but published his work on playing the violin late in life - 1751, when he was 64. ![]() It's noticeable that Geminiani loaths plain 'detache' (all the notes long and flat) and often dislikes 'sautille' (all the notes articulated by springing from the string), but is happy to use either mixed with slurs or dotting. This covers articulation in some detail, though you have to refer to the notes at the beginning to know what sign means what, and you have to known that "Ottimo" > "Buono" > "Meglio" > "Cattivo" > "Pessimo" and that "Particulare" means 'sometimes'. Probably the best source for this is Geminiani's treatise (as Andres pointed out earlier) It's a 20th-century, maybe "steam-roller" aesthetic, but just a different taste, neither better nor worse. I wonder perhaps modern slurs actually work wonderfully for the modern bow. Also, if we want to cite later treatises, why not Geminiani's Art of Playing the Violin? Closer to Vivaldi in space and time, (but also stylistically completely different). Mozart has great info in general for the period, but I wonder if we might need to be very diligent with sorting out the anachronistic things for Vivaldi. maybe look at what Vivaldi's father, his teacher, was doing at S Marco in Venice. I think if we're gonna go down the HIP-route and use treatises, we can do better by looking at sources and clues before and during Vivaldi's youth, e.g. 1719) would had exposed to other more a la mode music I would speculate. I'm not aware of any reference of Vivaldi in the Mozart's Versuch, that they ever met, and the young/teenage Leopold Mozart (b. And change from what previous concertmasters in the same orchestra had indicated.Īnd editors of the older Baroque works issue conflicting editions, just proving that there is never one correct way to play anything.īut Vivaldi's music was old-fashion by his last years - he died in poverty in 1741. Sort of like now, when concertmasters change bowing indications from what the composer indicated in the printed score in order to suit their concept of sound and bowings. They marked what they thought was important and figured that everybody knew the common sound of the time and left it up to the individual how best to play the music. So it's impossible to say either way, and I bet Vivaldi (and the other great composers of the Baroque) didn't care all that much. But that was most likely not the case in actual performance practice of the time the music was composed in. ![]() People often think that all those runs of Baroque 16th notes (or 8th notes in alla breve) would have been played detache since there were no legato indications. Sparse dynamics without gradations have lead people to think that things were either loud or soft without any shadings or gradual transitions between. Over the centuries we have lost what would have been common knowledge at the time which composers would not have bothered to write down since everybody would have known it. Some people think that if it's not marked clearly on the original, then it shouldn't be done. ![]()
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