Possible way of playing Ricochet Saltato and Tremolo

Possible way of playing Ricochet Saltato and Tremolo

Ricochet saltato or English meaning rebound with springing is joyful, exciting technique, I have ever faced with. Actually, this technique has a special place  in my career-life, since I usually cope with the challenging, extraordinary Paganini pieces of art. Especially caprices, concertos, solo violin pieces include much combinations of ricochet stroke. Maybe caprice no.1 is the best example of ricochet-saltato technique. It is totally based on this technique. Once you get the formula of playing ricochet, you manage to create enormous virtuosity, with maximum elasticity and comfort. One other best example of ricochet stroke emerges at the last variation of Paganini’s greatest piece named “Nel cor piu non mi, sento”; variations on theme of Paisello’s La Molinara’ opera. In order to conclude the piece at the point of virtuosity, the composer prefers to write the last variation on ricochet stroke.

On the other hand, Leopold Auer makes academical comments for Ricochet saltato. According to him, the bow should be held as lightly as possible and should be played with springing (as high as possible) bow above strings. Besides he also claims that, “…let it fall with an elastic movement of wrist , and you find that it will rebound as far as you freely allow it to. At first you will find that, this gives you a certain number of unequally hurried tone.”(Auer)

As I said before; after working for a time along the lines laid down one will succed in guiding, controlling this irregular movements, will be able to play two, three, four or eight notes absolutely rhytmic manner with one bow stroke according to a performer may shorten or lenghten it. (Auer)

The Tremolo

One other technical stroke which also has same basic principles as Ricochet-Saltato but with two strokes. According to Auer again, when the performer produces tremolo, s/he should “…give each down-bow a clearly marked accent from the wrist, which should be greatly relaxed in order to make the bow rebound.” (Auer)

I also noticed that, tremolo stroke looks a little line sautille, while being produced. However, it is played on same string (and repetition of same notes) unlike sautille, and the more elastic and relaxed ‘accent’ one makes, the more bow will leap. “This applies also to the rebounds in the case of the up-bow.” (Auer)

Source;

1. Auer, Leopold, ‘Violin Playing as I Teach it’, Frederick A. Stokes Company, 2009 http://petrucci.mus.auth.gr/imglnks/usimg/7/7d/IMSLP29626-PMLP66515-Auer_Violin_Playng.pdf,  30.10.2012

Ornaments (Mordente & Grupetto/Apoggiatura)

Ornamentation is one of the most necessary, prominent and milestones of violin literature. The usage of ornamentations are indeed varied by the aesthetical notions of compositions. However, in Baroque Era,the composers usually preferred not to add anything on the score, that is why, the players generally decided to make, their own interperatitions and improvised many kinds of ornamentation variations while they were playing the pieces…

As a matter of fact, the composer after Baroque; especially Classic and Romantic composers –such as Kreisler, Rode, Kreutzer, Spohr and so on- would definitely prefer to indicate the ornamentations in their work as they want to get it performed. As a result of this, the player needs to play and obeys only the directions (notes, ornaments etc.) of the score related to works of these composers.

The ornaments, as I want to mention in this article, are mordents and grupetto –also known as ‘turn’ and ‘grace-notes’ in English-. “They were mainly employed in airs, in slow movements whose expressive,playing depended on the good taste and musical feeling of the artist.” (Auer) Unfortunately, the players did not use to have written source to play the embelishments including grupetto and mordents, so they sometimes exaggerated the usage of ornaments. For example; “Leopold Mozart complained in his Gründliche Violinschule, that the solo violinist abused to an extent which threatens the total extinction of the principle thing, the melody itself.” (Auer) That is the reason why, the great masters like Paganini, Viotti and Beethoven used the combinations of embelishment (in particular trills) in their formidable works (concertos, sonatas, symphonies etc.) and mentioned on the score, so nobody will be able add any kind of ornamental variations or change them, since it is unnecessary.

There are many kinds of ornaments in violin music. For instance, appogiatura or “grace-notes” can be seen in the example:

“Inspite of the small notes the rhythm is not and should not be disturbed. These grace notes, as notes, do not count in the rhythm, and in playing them the violinist should be guided entirely by his rhythmic sensibility.” (Auer)

In other words, the players should play these grace-notes in very limited time period, because these notes do not have any functions other than aesthetical sense.

As we look at the example above; we can see two ornamental patterns which are two variations of same embelishment; the first one (a) is played quite short, while the unbarred note (b), borrows half its value from the note preceding, but in such fashion that the rhythm remains unchanged save, of course, for the change in time value of the note from which it borrows” (Auer)

Another notable examples demonstrate one other important ornamental variety; mordente or ‘turn’ which is marked with the sign ‘’. Before making an analysis; I should say it is consisted of three notes, “…in which the accent invariably falls on the long note.” (Auer)

According to Auer –which I totally agree with- the principal rule which is supposed to be observed by (violin) player in slow movement or in cantabile sections, s/he should avoid playing mordente (turn) so fast that, s/he will be able to make its rendition conform to the character of the musical phrase. (Auer)

Source;

1. Auer, Leopold, ‘Violin Playing as I Teach it’, Frederick A. Stokes Company, 2009 http://petrucci.mus.auth.gr/imglnks/usimg/7/7d/IMSLP29626-PMLP66515-Auer_Violin_Playng.pdf,  27.11.2012

Pizzicato

Pizzicato is one of the most creative, challenging, and innovative technique of violin literature. This technique is generally mentioned as ‘pizz’ or ‘+’ in the score which are exponents of two pizzicato technique: ‘Pizz’ should be played by right hand, but ‘+’ should be played by left-hand.

Interestingly; the first appearance technique was to be described as shields used by soldiers in battle: Heinrich Biber probably wanted to imitate the sound of clashing shield. (Pizzicato) This was also called as ‘Testudine: ohne Bogen’ in the string accompaniment to the ‘Nightwatchman’s Call’ written by Heinrich Biber.

“Another early indication in found Monteverdi’s Combattimenti di Tancredi e Clorinda (1624), in which the players are asked to put the bow aside and ‘pluck the string with two fingers”. (Pizzicato)

Other early examples which can also be seen by orchestral accompaniment of the variations under the title of Venezia Carnavale by Niccolo Paganini. –Soloist plays the virtuosic variations and orchestra accompanies to  the soloist with same motivic triplets- This example requires that, the violin should be put under the right arm and plucked like a guitar. (Pizzicato)

However, the first written source was possibly written by Leopold Mozart in ‘Versuch einer Gründlichen Violinschule, 1756. Leopold Mozart intented to explain how to play staccato, “…and wrote that ‘the string are plucked with index-finger or with the thumb of the right hand’, but also the thumb should be used only when ‘whole chords are to be taken in one”. (Monosoff)

One other important note was that, in orchestral music, pizzicato was not popular before Classical era: Of course, pizzicato was (firstly) drammatically demonstrated by Beethoven; especially in his 5th symphony’s third and fourth or concluding pages of 7th symphony’s Allegretto (2nd movement).

The usage of pizzicato was wildly modified in order to  depict the posture of mood. For example; in 20th century the Hungarian composer Bela Bartok used very hard (wild) pizzicato which defines that the string should be snapped on to the fingerboard.

On the other hand, Paganini was assumably the first composer, who made extensive use of the left-hand pizzicato (indicated by a ‘+’). Especially in caprice  no. 24, he asked for it should simultaneously be played with bow and left hand pizzicato (+).

According to Leopold Auer’s opinion all suggestions and informations given above, are totally true. However he makes some useful advises in terms of pizzicato  technique. For example, he says; the right hand pizzicato is produced by the first finger of the right hand, also adds that; the thumb is supporting itself on the corner of the fingerboard, and the first finger is plucking or ‘pinching’ the string with the flesh of the finger-tip and not with the nail. (Auer) Because we all (professionals) know that, if one uses the nail while producing pizzicato, the string is inevitably jarred and it loses the quality of sound. In order to play the pizzicato with high quality, Auer makes another prominent suggestions and says “…let the string sound out fully and freely by attacking it in the direction of G to the E string, without effort, yet with the work breadth of the finger-tip and only with its fleshly cushion. If this be done the resulting tone will have the quality of tone given forth by a hard-string when plucked by the finger of an experienced artist.” (Auer)

Furthermore; rapid pizzicato which is produced by left hand, is not only used by Paganini but also by Ernst and Bazzini. In other words, Paganini’s inspiration in left hand pizzicato (+) affected many of composers to use it in virtuosic passages. Moreover, I would like to share some important tips, beyond all suggestions of experienced and legendary masters, that one plays the (+) pizzicato, s/he should consider three things: The capability of left hand, bow speed and springing height and his or her mood while playing it. Especially third one is very important, because when you enjoy what you do by the time you are playing this technique, everything will succesfully be achieved by your side.

Lastly, I would like to discuss another interesting pizzicato which can be seen in Maurice Ravel’s Tzigane (in accompanimental part). This pizzicato should presumably be produced by both left and right hand. The 16 notes are played by both index-finger and left-hand pizzicato. To sum up, this is the combination of two different technique related to this technique…

Source;

1. Auer, Leopold, ‘Violin Playing as I Teach it’, Frederick A. Stokes Company, 2009 http://petrucci.mus.auth.gr/imglnks/usimg/7/7d/IMSLP29626-PMLP66515-Auer_Violin_Playng.pdf,  30.10.2012
2. Sonya Monosoff. “Pizzicato.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 25 Nov. 2012. .

Spiccato (off the string)

Spiccato

 

Spiccato are two antonyms of legato, in terms of their usages. Especially spiccato, has complex, independent and seperated way of playing. Spiccato should be played off the string with strictly spring bowing stroke.

This term is sometimes counted as the synonymous of Sautillé (Spiccato). Spiccato, on the other hand, has various way to be produced. For example, spiccato sautille is the combination of detache and spiccato techniques. It is usually played in the middle (and a little closer to nut) of the bow. For the record, one can begin to study of playing the Sautille in detache on the first hand, but when s/he manages to learn the work, then tempo of passages can be increased; it is automatically turned into spiccato sautille by certain and proper rapidity. It is generally produced from the wrist only. According to Auer, after the wrist has gained  a certain amount of agility, capability and exercises on two string (G-D) may be begun (Auer).

Then one repeats the same exercise on other strings (A-E). The Sautille stroke is not  difficult technique compared with staccato playing. However, there are some challenges which occur during the playing. Auer gives very beneficial advices for violinists:

“In order to secure the spiccato, all that is necessary is to relax the pressure of fingers on the bow, while going on with the same movement of the wrist used for the short detached stroke already mentioned. The bow will bound of its own accord if violent movements of the hand are avoided.” (Auer)

Besides that, it should be produced in very short bow (in the middle), in order to control and master a bow, while producing sautille. In addition; performer should be aware of how to use the bow, while playing it. One other important suggestion made by Auer, three quarter of breadth of the bow-hair should be held by the performer (without changing position of wrist) to give greater body to the tone. (Auer)

Moreover, the hand should remain quiet, and keep to its usual position. And the performer must try to play sautille in same place, which is pointed between bridge, and fingerboard, in order that the whistling, feeble and less quality tone may be avioded.

On the other hand, there are some other spiccato variations such as leggiero spiccato, ‘normal’ spiccato.

Lets talk about leggiero spiccato. This term academically does not emerge (usually) but it is also the kind of spiccato stroke. And spiccato leggiero –as its name- should be produced more gracefully than spiccato sautille but in the same manner.

Spiccato (classic manner) stroke is such technique that should be played upper part of the bow, with high quality manner. In other words, the performer challenges with more difficulties related to tone quality than other spiccato kinds. Of course; it is played the way slower than sautille and leggiero.

Source;

1. Auer, Leopold, ‘Violin Playing as I Teach it’, Frederick A. Stokes Company, 2009 http://petrucci.mus.auth.gr/imglnks/usimg/7/7d/IMSLP29626-PMLP66515-Auer_Violin_Playng.pdf,  30.10.2012
2. David D. Boyden and Peter Walls. “Spiccato.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 15 Nov. 2012.<http://www.oxfordmusiconline.com/subscriber/article/grove/music/26404&gt;.

On the String

Introduction (Holding the bow)

L’abbe le fils calls the bow as ‘the soul of the instrument in touches, as it is used to give expression to the sounds…(Stowell 1985,57) In my opinion, it is certainly correct, because without the bow, the picture or the music is not completed. Even if someone claims that s/he can play the violin without the bow, but s/he merely play it with one technique pizzicato. In addition; it can be unaesthetical and the crowd (or audience) would get bored after a certain time. Because the violin is not the guitar…

On the other hand, most of the violinist believe in the fact that, elbow should be inclined towards E string area, in order to prevent arm being raised steeply higher for execution of G String…

Besides; “L’abbe le fils confirms that ‘the elbow should always be detached from the body’, Campagnoli further prescribes two rules:

1-        The arm which supports the bow must neither be held too high nor too low, but remained in a natural position.

2-        The thumb, the hand, the elbow, and the entire portion of the arm which sustains the bow, must be kept quite on a level or in other words, at the same height. (Stowell 1985, 57)

Indeed; this fact of holding both violin and bow should absolutely be in natural way. However rules-lover Europeans always used to put boundaries for the position of the bow too… For example; “Spohr confirms that the wrist must …be raised but the elbow lowered and kept as near as possible to the body[1]” (Stowell 1985, 58)

However; modern techniques, referring to elbow, position make a contradiction against spohr’s method or recommendation. Since, 19th and further centuries elbow position is closer to the body compared with Spohr’s and 18th centuries’ elbow position. Paganini, however, held the bow in very unorthodox way, because of his extra ordinary physique. Guhr says that ‘his arm lies quite close to his body and is hardly ever moved.’ (Stowell 1985, 58). As a result of his holding position; his wrist can easily be moved and the flexible movement of the bow raised the rapidity of his play.

For instance; I would like to share one memoir with your highness, which is related with last concert in Bilkent Concert Hall. The soloist of this concert (Braunstein) had typical violin holding technique as Oistrakh’s method and had his right hand (control of bowing) which was concretely different than learned method. The usage of bow (by himself) was closer to Paganini’s method, referring to the fact that, elbow is placed nearer to the body than 18th & 19th century’s bowing technique…

Staccato (in general)

String playing has lots of combinations, in terms of technical varieties. Spiccato and Staccato are only two technique in enormous string literature (especially violin playing). However, these techniques may be the most important figures in string playing. Because; they are the representitors of two group of playing; referring to techniques ‘on’ the string and ‘off’ the string…

Staccato, which I intended to discuss in this essay, are very hard technique which requires strong stamina, strength and delicacy… The term maybe the antonym of legato, but it must be played between, staccato and legato. Of course, the player should play the note with strong articulation. And the notes should be detached from one another, that is why, authorities describe the staccato as ‘non legato’… Besides, in late Beethoven pieces, not legato term usages or staccato marks, often occur after legato passages. Maybe, the composer intended to use strong indications against other slurred passages. (Staccato)

Staccato of before 19th century usages, has two distinctive types of staccato execution (Staccato). One of them was normal staccato marks (with dot) and other marks under slur indicating portato –which means more merciful and sensitive type of playing. This ‘Strich’ should be played with proper vibrato, and with high qualified bowing usages-

However, notational distinction sometimes intended to ‘there can be no doubt how composers envisaged’ and the player or performer ‘employed’, make continous ‘spectrum of subtly varied staccato execution’ instead of playing two different types. (Staccato)

Furthermore; there is another term of staccato, assumably occur in second half of 19th century; named as ‘flying staccato’. Its functions work as spiccato but in the same wedge. Further informations about staccato, will be included in second part of this essay, which will be written under the title of ‘How to play staccato’…

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[1] His techniques obey the 18th century’s rules

Source;

1.    Stowell Robin, ‘Violin Technique and Perfomance  Practice in Late Eighteenth and Early Nineteenth  Centuries’, Cambridge musical Texts&Monographs. Cambridge University Press, 1985. p. 57-58

 

 2.   Geoffrey Chew and Clive Brown. “Staccato.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 17 Oct. 2012.<http://www.oxfordmusiconline.com/subscriber/article/grove/music/26498&gt;.

 

On & Off the String

How to Play Staccato

Staccato, as I mentioned in my writing of last week , is the hardest technique in violin playing literature. There are many ways to achieve in playing staccato. However, there are two kinds of staccato; which are firm staccato and staccato volant (flying staccato).

I would like to share the important and valuable references and sources of Leopold Auer –who  is the master of the 20th centuries’s greatest violin virtuoso Jascha Heifetz…

According to his opinion, the manner of playing staccato is differed by violin virtuosi. In addition; those virtuosi have divided into some groups which are consisted of players; who believe in different manners of staccato stroke.

For instance; Kreutzer, Spohr and Rode thought that staccato stroke should be produced with the aid of wrist. (Auer 1921,71) Some great virtuosi of 19th century had only the manner of moderately rapid staccato playing. Joachim who is the master of our writer (Leopold Auer) “…produced his staccato only from the wrist; and it was just rapid enough for the demands of the classical repertory which preferred in his concert and his chamber music performances.” (71)

On the other hand; some other group of virtuosi; such as Viextemps, played the staccato in a mixed manner. He produced the staccato stroke from the wrist and the forearm, and manage to play a member of notes on the same bow-stroke so he secured the most astonishing effects. (72)

However, Wieniawsky was the brilliant representitor of staccato stroke. His manner of playing staccato refers to the usage of upper-arm only. Most of the players of our generation including me, prefer to play the staccato with this manner. Of course; staccato stroke should be played according to the manner of composers and their pieces.. This kind of staccato, stiffen the wrist to a point actual inflexibility; but it helps to produce the staccato with dizzyling rapid at the same time possesses a mechanical equality. (72)

Note: Joachim used this term for the first time, “The virtuoso exists for music not music for the virtuoso.” (71)

Staccato Volant (Flying Staccato)

On the contrary; Sarasate only used the staccato volant which is popularly known ‘Flying Staccato’. This technique does not require high-level rapidity, but it should be played with springing bow in graceful manner.

The ‘Flying Staccato’ are based on two methods, which is related to the “…playing from upper arm, as well as from the wrist, using both at the same time, with the difference”. (72-73) Ino other words, ‘flying-staccato’ should only be played with wrist and upper arm movement, since this is only way to produce this quality of playing

Furthermore ; the staccato volant (flying) is the elastic manner of the usage of staccato..

To sum up; we can absolutely divide the usage of staccato into two groups. This concerns two manner of staccato playing: Firm staccato which is strictly sticked to the bow, and staccato volant (flying) that is about the bow is (jumping) springing gracefully, and carefully on the string…

Source;

1. Auer, Leopold, ‘Violin Playing as I Teach it’, Frederick A. Stokes Company, 2009 http://petrucci.mus.auth.gr/imglnks/usimg/7/7d/IMSLP29626-PMLP66515-Auer_Violin_Playng.pdf,  30.10.2012

Creative and Innovative Technical Elementsof late 18th and 19th Centuries Violin Playing

Holding the Violin

The Position of the chin was the debating issue during 18th and 19th centuries. In addition; violin players belonged to this era, were divided into two parts: The players who put their chin put their chin the left side of the tailpiece (which is the southest point of the violin), and right-siders (who believes in the truth that, the chin should be put on the right side of the tailpiece)…

One of the theorist named L’abbe le fils demontrates that, modern violin hold with the chin presumably gripping the instrument on the left side of the tailpiece (Stowell 1985, 38). Many of other namely Löhlein, Campagnoli, Galeazzi, Cambini and Roeses also follow the path of L’abbe’s method…

Logically, Galeazzi said that right-side of the tailpiece should be used or suggested, after all violin is placed on the left shoulder.

According to Baillot’s L’art, there are some rules which are related methods of holding the violin. For example, typically the violin should be placed on the collar-bone, and inclined towards the right side about 45 degrees, held firmly by the chin, on the left side and close against the tailpiece and the chin should be leaning on the violin, not on the tailpiece (Stowell 1985, 40).

On the other hand, Woldemar’s edition of Leopold Mozart’s, advocates the idea that chin position on the left position of the tailpieces, but he says the position is not suitable for very young pupils, because of some obligatory factors (such as left arm should be brought well under the violin, but it could cause arm-ache), they can be injured…

Besides, some evidences recommends that Paganini, the person did not play with chin-rest, placed his chin on the left side of tailpiece, therefore his favourite violin (Guarnerius) is heavily worn on that side. (Stowell 1985, 40)

However, contrary factors show that Paganini’s chin is positioned on tailpiece itself. Furthermore, “…a sketch by Adolf von Menzel, entitled ‘Violin Concerto’, clearly reveals Joachim’s playing position, with his chin on the right side of the tailpiece, even as late as 1854.” (Stowell, 40)

The first chin-rest was invented by Spohr in 1820’s and was designed to be placed over the tailpiece. There is no doubt, holding the violin in general (or holding the bow) are open to discuss but this is the fact that, violin should be played in delicately graceful and comfortable way.   Otherwise, writing, methods or names written above are not important at all, unless someone can feel comfortable while he is playing…

The level of the violin is naturally varied because of some factors. In other words, many extra tools relating to the violin such as chin-braced or shoulder pad support, which helped the ascents the height of shoulder so the player managed to play with optimum freedom of left hand movement and flexibility of bowing also rised…

Source;

1. Stowell Robin, ‘Violin Technique and Perfomance  Practice in Late Eighteenth and Early Nineteenth  Centuries’, Cambridge musical Texts&Monographs. Cambridge University Press, 1985. p. 38-45

The Pioneer Violin Countries – Important Pioneer Composers

Generally the violin playing is risen from 4 basic countries (Then, it spreads to all around the world). These are France, Italy, Germany and Great Britain.

Undouptfully, France, and Italy (in terms of violin practise and technique, so on) dominates the world with their countriments. For instance, France according to the book, written by Robin Stowell, mainly focuses on methods and basic elements of violin playing. Joseph Barnabe Saint-Sevin, Michel Correte, Jean Baptiste Cartier are foremost musicians in terms of violin playing –Jean Baptiste particularly incorporates the numerous compositions into his L’art, which was the dedication of the new  ‘Conservatoire de Musique’ in Paris. “ The third and most valuable part of this method comprises an anthology of some 140 pieces by member of the French , German and Italian violin schools of the 17th and 18th centuries” (Stowell)

Besides, the Methode of Rode comprises and contains the basic rules of how to hold violin and bow.

On the other hand, Italy is probably the founder of violin technique quality ad basic playing issues related to violin. In addition, citizens or parts of Italian ecole, intented to enrich the quality of violin during the late 18th to 19th centuries.

Basically, Francesco Geminiani, had a remarkable influence on the development of violin technique through his teaching, works and performances, according to Robin Stowell. Interestingly, the influence was felt largely in England, Ireland and in countries other than his native Italy. Because of that, it is evaluated elsewhere. (Stowell)

However, nobody under-estimate  the technical virtuosity and contributions to violin playing of Paganini in terms of technical variety. In the Musical Times, the author describes Paganini as third Milestone of violin playing which is consisted of Corelli and Tartini. (Joachim) We can admit this, at the time of Paganini’s birth, violinists were already busying with technical problem, and practically every possible device in violin technique.

He studies for 12 and 15 hour per day and his studies begin with independence. “The more he steeped himself in the maze of technical problems, the more clearly he realised the possibilities of his instrument.” (Joachim)

German ecole for violin playing is firstly encountered by the father of Mozart, Leopold. Leopold Mozart’s book Versuch had  4 editions, which appeared before 1800 and generally was consisted of technical principles. However, Leopold Mozart’s 4 Edition of German violin treatise were outdated… Some revisions which reflect contemporary technical developments.

Spohr’s Violinschule is ratherconservative in content… “He objected to many of the effects employed by Paganini and other virtuosi, notably thrown bowings, artificial harmonics and suchlike preferring to cultivate a more ‘classical’ on-the-string bowing technique and singing tone.” (Stowell)

Actually, there are few sources are written for British ecole. Most of the composers and violin players were usually transeferred from foreign countries such as Italy and France. Geminiani is the typical  example in order to explain this fact. In Robin Stowell’s Violin Technique and Perfomance Practice; it is defined as “Violin playing in Britain during the period was dominated by foreign musicians, of whom Geminiani was by far the most important, spreading the technique and style of his master, Corelli, through his compositions, teaching, performance and, above all…” (Stowell)

Source

1. 1.  Stowell Robin, ‘Violin Technique and Perfomance  Practice in Late Eighteenth and Early Nineteenth  Centuries’, Cambridge musical Texts&Monographs. Cambridge University Press, 1985. pp. 5-9
2. 2.  Joachim, Henry the Musical Times, Three Milestones in the History of Violin Playing III. Paganini (Concluded), Musical Times Publications Ltd. 25/09/2012. Print. pp.1079-1082      www.jstor.org/stable/919427

Aspects of Baroque Style (VIII) – Approach to Interpretations on Bach’s Violin Sonata no.1

Depending on my previous papers, I am going to compare two different performers’ interpretation on Bach’s 1st violin sonata. It is obvious that baroque music has its own style depending on using of bow techniques, types of using vibrato, different ways to broke for-note chords, articulation, tempo, etc.

Itzhak Perlman, who is a very important violin soloist now, interpret the 1^st violin sonata in contrast to what I have defend about the baroque style, although I admire his classical or romantic piece interpretations. He uses a lot of vibrato in every note which it makes the piece as a romantic one. He broke the for-note chords in one time, not in baroque style, which has to be separate but simultaneously. It is useful to emphasize on the melody if it is in the “middle note” instead of the “bass note” as I have mentioned before. His articulation and emphasizing on the important notes with vibrato is very clear but because he is using the vibrato all the time, I heard the important note’s vibrato is like exaggerated. Actually, it disturbs me when it is played with a lot of vibratos.

To tell the truth, I did not find any performance close to which I have explained about the baroque techniques but I have learned and performed the 2^nd violin sonata with the techniques that I have defended. In my opinion, it should be in that way to present that “baroque sound”, other way it would not have any differences with the romantic pieces, besides the texture and melodies of course.

Many people would not agree with me in this subject, they may say that “the instruments are different now so that the performance would be difference”, however I would not agree with this. We can learn how to provide the “baroque sound” with researching and trying without give up, so it will be meaningful to practice and perform baroque music.