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(Historically Informed Performance) & The Flow.Zone </h2> </div> <a href="https://andrewlawrenceking.com/" rel="home"> <img id="header-image" src="https://andrewlawrenceking.com/wp-content/uploads/2013/08/copy-alk-huete-small2.png" width="269" height="252" alt="" /> </a> </header> <div id="main"> <section id="primary"> <div id="content" role="main"> <header class="page-header"> <h1 class="page-title"> Baroque Music </h1> </header> <nav id="nav-above"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/tag/baroque-music/page/3/" ><span class="meta-nav">←</span> Older posts</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/tag/baroque-music/" >Newer posts <span class="meta-nav">→</span></a></div> </nav> <article id="post-3482" class="post-3482 post type-post status-publish format-standard hentry category-history-of-emotions category-introductions category-music-and-philosophy tag-baroque tag-baroque-music tag-baroque-opera tag-continuo tag-early-harp tag-early-music tag-emotions tag-harp tag-hip tag-history-of-emotions tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/" rel="bookmark">A jolly Farewell to a bitter Year</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/#respond"><span class="no-reply">0</span></a></p> </header> <div class="entry-content"> <p>2020 has certainly been a difficult year for many, not least for musicians and music-lovers. This concert of baroque chamber-music was put together after large-scale oratorio performances had to be cancelled, and even so, you – our audience – cannot be here to commiserate and celebrate with us, but must join us <a href="https://www.facebook.com/events/1345966372402298/">online</a>, and – we trust – in spirit!</p> <h2>ENSEMBLE FLORIDANTE</h2> <h2><em>Väärika Aasta Vallatu Ärasaatmine</em><br /> A Jolly Farewell to a Bitter Year</h2> <p><a href="https://youtu.be/BwBnpEKuq9g">Watch the video (from Tallinn’s Old Town on 30th December 2020) here.</a></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg"><img data-attachment-id="3506" data-permalink="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/frost-fair-1683-4/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg" data-orig-size="4343,4535" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"TLib","caption":"","created_timestamp":"1191657990","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Frost Fair 1683-4" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg?w=287" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg?w=440" class="alignnone size-full wp-image-3506" src="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg?w=440&h=459" alt="" width="440" height="459" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg?w=440&h=459 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg?w=880&h=918 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg?w=144&h=150 144w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg?w=287&h=300 287w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1683-4.jpg?w=768&h=802 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>In the mid-17<sup>th</sup> century, English musicians faced some 11 years of cultural restrictions, during the period of the Civil War and Commonwealth, until the Restoration of King Charles II brought back theatre plays, music, dancing and renewed contact with continental culture. Let us hope that the dark days of Brexit do not last so long for England now!</p> <p> </p> <p>Purcell evokes a ghostly gloom as the <em>Conjurer </em>awakens the Indian Queen’s god of sleep out of his eternal slumber, whilst King Arthur’s <em>Cold Genius </em>freezes to death in his bed of everlasting snow. Over a tortured, chromatic <em>Ground, </em>Purcell’s melody promises that music will ‘beguile’ – charm away – all your cares, whilst onstage, tragic Oedipus sees ghosts passing amongst the trees. <a href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/">More about Music for a While here.</a></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png"><img data-attachment-id="3502" data-permalink="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/captaine-humes-musicall-humors/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png" data-orig-size="548,135" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Captaine Humes Musicall Humors" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png?w=440" class="alignnone size-full wp-image-3502" src="https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png?w=440&h=108" alt="" width="440" height="108" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png?w=440&h=108 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png?w=150&h=37 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png?w=300&h=74 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/captaine-humes-musicall-humors.png 548w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>So let’s bid 2020 “<em>Farewell</em>!”, and <em>Battle</em> our way into the New Year with the <em>Resolution</em> of Tobias Hume’s soldierly compositions for viola da gamba. Hume (who was perhaps the model for Shakespeare’s viol-playing, <em>Galliard</em>-dancing knight, Sir Andrew Aguecheek in the New Year play <em>Twelfth Night</em>) was both an experienced <em>Soldier</em> and a gamba virtuoso. Our two viol-players compete fiercely, but remain in musical Good <em>Humour</em>, fortified by the <em>Spirit of Gambo</em>.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/12/pills-to-purge-melancholy.jpg"><img data-attachment-id="3500" data-permalink="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/pills-to-purge-melancholy/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/pills-to-purge-melancholy.jpg" data-orig-size="167,302" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Pills to Purge Melancholy" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/pills-to-purge-melancholy.jpg?w=166" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/pills-to-purge-melancholy.jpg?w=167" class="alignnone size-full wp-image-3500" src="https://andrewlawrenceking.com/wp-content/uploads/2020/12/pills-to-purge-melancholy.jpg?w=440" alt="" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/12/pills-to-purge-melancholy.jpg 167w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/pills-to-purge-melancholy.jpg?w=83&h=150 83w" sizes="(max-width: 167px) 100vw, 167px" /></a></p> <p> </p> <p><em>Wit and Mirth </em>or <em>Pills to Purge Melancholy</em> was the title of Thomas d’Urfey’s collection of over a thousand songs and poems published around 1700. If <em>Dissembling Love </em>cannot be trusted, perhaps <em>Tobacco </em>or even <em>Hemp </em>can drive the melancholy of a <em>cold winter away</em>. So have a happy <em>Holiday </em>and may your New Year <em>Wish </em>come true!</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg"><img data-attachment-id="3504" data-permalink="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/frost-fair-1608/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg" data-orig-size="1736,2224" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Frost Fair 1608" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=234" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3504" src="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=440&h=564" alt="" width="440" height="564" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=440&h=564 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=880&h=1128 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=117&h=150 117w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=234&h=300 234w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=768&h=984 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair-1608.jpg?w=799&h=1024 799w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Although in 1600 everything in the winter sales is ‘trash’, the <em>Tinker </em>(salesman) swears that his ‘heart is true’. In 17<sup>th</sup>-century London, when the river Thames froze over, ladies and young lasses crowded onto the ice to buy <em>Fine Knacks</em>, ‘cheap, choice, brave and new’, although <em>Nothing </em>was really new. The <em>Fine Dog </em>has a hole in his head, but everything comes ‘with a ….’ [free gift]!</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg"><img data-attachment-id="3508" data-permalink="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/sad-pavan/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg" data-orig-size="1200,1823" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"psc 1300 series","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Sad Pavan" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=197" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=440" loading="lazy" class="alignnone size-full wp-image-3508" src="https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=440&h=668" alt="" width="440" height="668" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=440&h=668 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=880&h=1336 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=99&h=150 99w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=197&h=300 197w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=768&h=1167 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/sad-pavan.jpeg?w=674&h=1024 674w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The political and cultural disruption of 1649 (the Plague and Fire of London were yet to come!) were mourned in a Sad Pavan. But I would fain <em>Change </em>this note of sadness – <em>I would if I could </em>– into the joyful chorus of a country-dance: ‘We come on, and never go back’. We have indeed all been living through ‘distracted times’, but the <em>Spanish Gypsies </em>wish a Happy New Year for everyone!</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/12/spanish-gypsies-cd.jpg"><img data-attachment-id="3498" data-permalink="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/spanish-gypsies-cd/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/spanish-gypsies-cd.jpg" data-orig-size="200,202" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Spanish Gypsies CD" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/spanish-gypsies-cd.jpg?w=200" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/spanish-gypsies-cd.jpg?w=200" loading="lazy" class="alignnone size-full wp-image-3498" src="https://andrewlawrenceking.com/wp-content/uploads/2020/12/spanish-gypsies-cd.jpg?w=440" alt="" /></a></p> <p> </p> <h2><strong>ENSEMBLE FLORIDANTE</strong></h2> <h2><strong>Väärika Aasta Vallatu Ärasaatmine</strong></h2> <h2><em>A Jolly Farewell to a Bitter Year</em></h2> <p><em> </em></p> <p>Alvar Tiisler – baritone</p> <p>Peeter Klaas – treble viol, bass viol</p> <p>Andrew Lawrence-King – baroque harp, psaltery</p> <p>Villu Vihermäe – bass viol</p> <p>Saale Fischer – harpsichord</p> <p><em> </em></p> <h2><strong>GHOSTS OF OLD YEARS PAST</strong></h2> <p>The Conjurer’s Song <em>Indian Queen </em>(1695) Henry Purcell</p> <p>A Ground <em>Oedipus </em>(1692)</p> <p>The Cold Genius <em>King Arthur </em>(1691)</p> <p> </p> <h2><strong>FAREWELL & RESOLUTION</strong></h2> <p>Parson’s Farewell <em>The English Dancing Master </em>(1651) John Playford</p> <p>The Battle Galliard <em>Lachrimae </em>(1605) John Dowland</p> <p>A Souldier’s Resolution & The Souldier’s Song Tobias Hume</p> <p>A Souldiers Galliard <em>Musicall Humours </em>(1605)</p> <p> </p> <h2><strong>PILLS TO PURGE MELANCHOLY</strong></h2> <p>Dissembling Love Playford</p> <p>Tobacco Hume</p> <p>The Hemp-Dresser Playford</p> <p>Drive cold winter away – Shepherds Holyday – The Whish</p> <p> </p> <h2><strong>CHEAP, CHOICE, BRAVE & NEW</strong></h2> <p>Tom Tinker Playford</p> <p>Fine knacks for ladies <em>Second Book of Songs </em>(1600) John Dowland</p> <p>New New nothing Playford</p> <p>Will you buy a fine dog? <em>First Book of Ayres </em>(1600) Thomas Morley</p> <p> </p> <h2><strong>SPIRIT OF CHANGE</strong></h2> <p>A Sad Pavan for these Distracted Times (1649) Thomas Tomkins</p> <p>Fain would I change that note Hume</p> <p>Fain I would if I could Playford</p> <p>The Spanish Jeepsies after Playford & Purcell</p> <p> </p> <p><em>Program devised by Andrew Lawrence-King</em><br /> <strong>The Conjurer’s Song</strong></p> <p>Ye twice ten-hundred Deities</p> <p>To whom we daily sacrifice;</p> <p>Ye Powers that dwell with Fates below,</p> <p>And see what Men are doom’d to do;</p> <p>Where Elements in discord dwell,</p> <p>Thou God of sleep arise and tell</p> <p>Great Zampoalla, what strange Fate</p> <p>Must on her dismal Vision wait.</p> <p> </p> <p>By the croaking of the Toad</p> <p>In their caves that make abode;</p> <p>Earthy Dun that pants for breath,</p> <p>With her swell’d sides full of death;</p> <p>By the Crested Adders’ Pride,</p> <p>That along the Cliffs do glide;</p> <p>By thy Visage fierce and black;</p> <p>By thy Death’s Head on thy back;</p> <p>By thy twisted Serpents placed</p> <p>For a Girdle round thy Waist;</p> <p>By the Hearts of Gold that deck thy Breast,</p> <p>Thy Shoulders and thy Neck;</p> <p>From thy Sleeping-Mansion rise,</p> <p>And open thy unwilling Eyes!</p> <p> </p> <p>While bubbling Springs their Music keep,</p> <p>That used to Lull thee in thy Sleep.</p> <p>John Dryden</p> <p><strong>The Cold Genius</strong></p> <p>What power are thou, who from below</p> <p>Hast made me rise, unwillingly and slow,</p> <p>From beds of everlasting snow?</p> <p>See’st thou not how stiff and wond’rous old,</p> <p>Far, far unfit to bear the bitter cold,</p> <p>I can scarcely move or draw my breath.</p> <p>Let me freeze again to death!</p> <p>Dryden</p> <p><strong> </strong></p> <p><strong> </strong></p> <p><strong>The Souldier’s Song</strong></p> <p>I sing the praise of honor’d wars,<br /> The glory of well-gotten scars,<br /> The bravery of glitt’ring shields,<br /> Of lusty harts & famous fields:</p> <p>For that is Music worth the ear of Joue,<br /> A sight for kings, & still the Soldier’s love:</p> <p>Look, for me thinks I see<br /> The grace of chivalry,<br /> The colours are displayed,<br /> The captains bright arrayed:</p> <p>See now the battle’s rang’d<br /> Bullets now thick are chang’d:<br /> Hark, hark, shoots and wounds abound<br /> The drums alarum sound:<br /> The Captains cry za! Za!</p> <p>The Trumpets sound tarra-ra-ra.</p> <p>O this is music worth the ear of Joue,<br /> A sight for Kings, and still the Soldier’s love.</p> <p> </p> <p><strong>Tobacco</strong></p> <p>Tobacco, sing sweetly for Tobacco,</p> <p>Tobacco is like love, O love it,</p> <p>For you see I wil prove it:</p> <p> </p> <p>Love maketh lean the fat men’s tumour,</p> <p>So doth Tobacco.</p> <p>Love still dries up the wanton humour,</p> <p>So doth Tobacco.</p> <p>Love makes men sail from shore to shore,</p> <p>So doth Tobacco.</p> <p>Tis fond love often makes men poor,</p> <p>So doth Tobacco.</p> <p>Love makes men scorn all Coward fears,</p> <p>So doth Tobacco.</p> <p>Love often sets men by the ears,</p> <p>So doth Tobacco.</p> <p> </p> <p>Tobacco, sing sweetly for Tobacco,</p> <p>Tobacco is like Love, O love it,</p> <p>For you see I have proved it.</p> <p> </p> <p><strong> </strong></p> <p><strong> </strong></p> <p><strong>Fine Knacks for Ladies</strong></p> <p><strong> </strong></p> <p>Fine knacks for ladies, cheap, choice, brave and new,</p> <p>Good pennyworths but money cannot move,</p> <p>I keep a fair but for the fair to view,</p> <p>A beggar may be liberal of love.</p> <p>Though all my wares be trash, the heart is true.</p> <p> </p> <p>Great gifts are guiles and look for gifts again,</p> <p>My trifles come as treasures from my mind,</p> <p>It is a precious jewel to be plain,</p> <p>Sometimes in shell the Orient’s pearls we find.</p> <p>Of others take a sheaf, of me a grain.</p> <p> </p> <p>Within this pack pins, points, laces and gloves,</p> <p>And diverse toys fitting a country fair,</p> <p>But in my heart, where duty serves and loves,</p> <p>Turtles and twins, Court’s brood, a heav’nly pair.</p> <p>Happy the heart that thinks of no removes.</p> <p> </p> <p><strong>Will you buy a fine dog?</strong></p> <p><strong> </strong></p> <p>Will you buy a fine dog, with a hole in his head?</p> <p>With a dildo;</p> <p>Muffs, cuffs, ribatos, and fine sisters’ thread,</p> <p>With a dildo;</p> <p>I stand not on points, pins, periwigs, combs, glasses,</p> <p>Gloves, garters, girdles, busks, for the brisk lasses;</p> <p>But I have other dainty tricks,</p> <p>Sleek stones and potting sticks,</p> <p>With a dildo, diddle dildo;</p> <p>And for a need my pretty pods,</p> <p>Amber, civet, and musk cods,</p> <p>With a dildo, with a diddle dildo!</p> <p> </p> <p><strong> </strong></p> <p><strong> </strong></p> <p><strong>Fain would I change that note</strong></p> <p> </p> <p>Fain would I change that note<br /> To which fond love hath charm’d me,<br /> Long, long to sing by rote,<br /> Fancying that that harm’d me.<br /> Yet when this thought doth come:<br /> – Love is the perfect sum</p> <p>Of all delight –<br /> I have no other choice<br /> Either for pen or voice,<br /> To sing or write:</p> <p>O Love they wrong thee much,<br /> That say thy sweet is bitter.<br /> When thy ripe fruit is such,<br /> As nothing can be sweeter,<br /> Fair house of joy and bliss,<br /> Where truest pleasure is,<br /> I do adore thee:<br /> I know thee what thou art,<br /> I serve thee with my heart,<br /> And fall before thee.</p> <p><strong>The Spanish Jeepsies</strong></p> <p><strong> </strong></p> <p>“Come follow all!”</p> <p>The Spanish Gypsies call.</p> <p>All you who fear your lives,</p> <p>Here’s those that Passion drives.</p> <p> </p> <p>We come on and ne’er go back,</p> <p>None of us shall ever lack!</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg"><img data-attachment-id="3512" data-permalink="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/frost-fair/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg" data-orig-size="2048,1053" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Frost Fair" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3512" src="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg?w=440&h=226" alt="" width="440" height="226" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg?w=440&h=226 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg?w=880&h=452 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg?w=150&h=77 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg?w=300&h=154 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/12/frost-fair.jpg?w=768&h=395 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <div 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to share on Twitter" ><span>Twitter</span></a></li><li class="share-end"></li></ul></div></div></div></div></div><div class='sharedaddy sd-block sd-like jetpack-likes-widget-wrapper jetpack-likes-widget-unloaded' id='like-post-wrapper-56032818-3482-6748698f2580a' data-src='//widgets.wp.com/likes/index.html?ver=20241128#blog_id=56032818&post_id=3482&origin=andrewlawrenceking.wordpress.com&obj_id=56032818-3482-6748698f2580a&domain=andrewlawrenceking.com' data-name='like-post-frame-56032818-3482-6748698f2580a' data-title='Like or Reblog'><div class='likes-widget-placeholder post-likes-widget-placeholder' style='height: 55px;'><span class='button'><span>Like</span></span> <span class='loading'>Loading...</span></div><span class='sd-text-color'></span><a class='sd-link-color'></a></div></div> </div> <footer class="entry-meta"> <p class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/introductions/" rel="category tag">Introductions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-and-philosophy/" rel="category tag">Music and Philosophy</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/baroque-opera/" rel="tag">Baroque Opera</a>, <a href="https://andrewlawrenceking.com/tag/continuo/" rel="tag">Continuo</a>, <a href="https://andrewlawrenceking.com/tag/early-harp/" rel="tag">Early Harp</a>, <a href="https://andrewlawrenceking.com/tag/early-music/" rel="tag">Early Music</a>, <a href="https://andrewlawrenceking.com/tag/emotions/" rel="tag">Emotions</a>, <a href="https://andrewlawrenceking.com/tag/harp/" rel="tag">Harp</a>, <a href="https://andrewlawrenceking.com/tag/hip/" rel="tag">HIP</a>, <a href="https://andrewlawrenceking.com/tag/history-of-emotions/" rel="tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2020/12/29/a-jolly-farewell-to-a-bitter-year/" title="Permalink to A jolly Farewell to a bitter Year" rel="bookmark" class="permalink"><span class="month upper">Dec</span><span class="sep">·</span><span class="day lower">29</span></a></p> </footer> </article> <article id="post-3480" class="post-3480 post type-post status-publish format-standard hentry category-continuo category-early-harps category-historical-action category-history-of-emotions category-introductions category-italian-baroque-harp category-moving-the-passions category-music-and-philosophy category-rhetoric category-rhythm category-text tag-baroque tag-baroque-gesture tag-baroque-music tag-continuo tag-early-harp tag-early-music tag-emotions tag-hip tag-muovere-gli-affetti tag-rhythm tag-rubato tag-seicento tag-tactus tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/" rel="bookmark">Isabella Leonarda 400th anniversary</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/#comments">2</a></p> </header> <div class="entry-content"> <h1><strong>Isabella Leonarda: </strong></h1> <h1><strong>the Soul of Music in Women’s Hands</strong></h1> <p><strong><br /><br /></strong><em>This article celebrates the 400<sup>th</sup> anniversary of Isabella Leonarda (1620-1704) – Ursuline nun, singer & composer – in connection with the </em>Earthly Angels <em>performance and recording project. <br /><a href="https://vaasabaroque.com/play/">Listen to her music here</a>.</em></p> <p>An extended version of this article will be published on this blog soon.</p> <p><br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg"><img data-attachment-id="3483" data-permalink="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/isabella-leonarda/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg" data-orig-size="220,221" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Isabella Leonarda" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg?w=220" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg?w=220" loading="lazy" class="alignnone size-full wp-image-3483" src="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg" alt="" width="220" height="221" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg 220w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg?w=150&h=150 150w" sizes="(max-width: 220px) 100vw, 220px" /></a></p> <p> </p> <h2><strong>The Soul of Music</strong></h2> <p> </p> <p>In 1601, song-composer Caccini proclaimed the Baroque priorities of his ‘New Music’ as ‘Speech and Rhythm’. <br /><br /></p> <h2><strong>Tempo</strong></h2> <p><br />The first character to sing in the first opera (1600) was <em>Tempo</em> – the personification of Time – commanding: “Act with the hand, act with the heart!” For us today, <em>tempo </em>is the <u>speed</u> of music, but for Isabella Leonarda (1620-1704) it was Time itself, defined by Aristotle as a ‘number of movement’ perceived by the Soul. <br /><br />The up-and-down hand-beat of Tactus connected musical notation to real-world Time. Period iconography shows singers beating Tactus, even in solo songs.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png"><img data-attachment-id="1521" data-permalink="https://andrewlawrenceking.com/2015/12/12/modus-agendi-or-how-to-act-preliminary-exercises-for-baroque-gesture/tactus-beaters/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png" data-orig-size="960,720" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus beaters" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=440" loading="lazy" class="alignnone size-full wp-image-1521" src="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png" alt="" width="440" height="330" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=440&h=330 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=880&h=660 880w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=150&h=113 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=300&h=225 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=768&h=576 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Zacconi (1592) characterises Tactus as ‘regular, solid, stable, firm… clear, sure, fearless, and without any perturbation’. Mersenne (1636) calibrates Tactus as 1 second per minim, shown by a 1m pendulum. At the end of the century, Carissimi (1696) defines <em>tempo</em> as subjective ‘quality’, the way time <u>feels</u>.</p> <p> </p> <p>17<sup>th</sup>-century ‘time-signatures’ are relics of much older Mensural notation. Long notes are divided by 2 or 3 to create short notes. Signs of Proportion recalibrate note-values in triple time. Within these fixed multiples, Leonarda employs modifying words to specify fine gradations of <em>tempo</em>.</p> <p> </p> <p>Amidst ‘passionate vocal effects and contrasting movements’ Frescobaldi (1615) shows how to ‘guide Time’, using Tactus. Transitions between movements are made by keeping steady Tactus (no <em>tempo </em>change, or strict Proportion), or by </p> <p>suspending the Tactus-hand in the air momentarily, then starting the new movement with modified Tactus, steady time that now feels <em>adagio </em>(literally ‘easy’) or <em>allegro </em>(happy).</p> <p> </p> <p>For Leonarda’s contemporaries, ‘Time is the Soul of Music.’ <a href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/">Read more here.</a> Zacconi explains that Time breathes life into dry notation: a minim is a dead symbol, until we animate it with the Divine Hand, symbolised by Tactus. Carissimi’s <em>tempo </em>is perceived as an Aristotelian ‘affection of the Soul’, an emotion. Leonarda’s precise notation contradicts 20<sup>th</sup>-century assumptions that performers choose their own <em>tempo, </em>or that expressiveness requires rubato.</p> <p> </p> <h2><strong>Rhetoric<br /><br /></strong></h2> <p>In Baroque speech and music, Rhetoric aims to ‘move the passions’. <a href="https://andrewlawrenceking.com/2020/04/20/inventio/">Read more about musical rhetoric here.</a> Sensual love-lyrics arouse fervour that Leonarda’s music re-directs towards the Divine. Delightful hand-gestures explain the text and communicate passionate contrasts. Rhetorical Delivery combines Pronunciation of words and music with Action of gestures and facial expressions, to channel <em>Enargeia</em>, the emotional power of detailed description. <a href="https://andrewlawrenceking.com/wp-content/uploads/2018/12/enargeia-vip.pdf">Read more about Enargeia here</a></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg"><img data-attachment-id="3486" data-permalink="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/pieta/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg" data-orig-size="2199,2192" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Pieta" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3486" src="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg" alt="" width="440" height="439" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=440&h=439 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=880&h=878 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=150&h=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=300&h=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=768&h=766 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Poetic imagery brings a scene to life, as if the audience could see it with their own eyes. ‘Here’, ‘Now’, ‘Behold!’: Gesture directs the audience’s attention to significant details of the imagined vision. In baroque Madrigalism (word-painting), the music sounds like what the words mean. Fragments of melody create ‘passionate vocal effects’ corresponding to gestures of the hand.</p> <p> </p> <p>Period Medical Science categorises emotion into Four Humours: warm Sanguine (love, hope), dry Choleric (anger, desire), dark Melancholy and cold, wet Phlegmatic.</p> <p> </p> <p>In Leonarda’s <em>Volo Jesum </em>(1670), ‘you fly’ (<em>volate</em>) up a triple-proportion fast-note scale to ‘love God’ on a long high note. After a <em>tempo </em>change to happy <em>allegro, </em>a contrasting <sup>6</sup><sub>4</sub> movement cites the love-sick Melancholy harmonies and descending bass-line of an operatic lament: ‘the heart is burning’ amidst Choleric <em>ignis et flamma</em> (fire and flame) with high notes and flickering vocal effects. A ‘happy mountain’ of Sanguine ‘joys’ rises boldly, Phlegmatic ‘rivers’ flow smoothly down, <em>Paradisi </em>has the highest note of all. Descending notes move Choleric passion to Sanguine Humour – <em>et in flammis es dulcis spes </em>– whilst Leonarda’s hand shows the Holy Spirit coming down to earth as Christ: ‘in flames, You are sweet hope’.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg"><img data-attachment-id="1537" data-permalink="https://andrewlawrenceking.com/2015/12/12/modus-agendi-or-how-to-act-preliminary-exercises-for-baroque-gesture/caravaggio-calling-of-st-matthew/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg" data-orig-size="620,387" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Caravaggio Calling of St Matthew" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-1537" src="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg" alt="" width="440" height="275" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=440&h=275 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=150&h=94 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=300&h=187 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg 620w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Poetic detail, moving passions, vocal effects, contrasts of <em>tempo</em>, expressive gestures: Leonarda does ‘act with the hand, act with the heart’. The composer’s hand notates subtle <em>tempo </em>changes, in which the serene movement of the Divine Hand is reflected in the diverse pulse-rates of a lover’s human heart. Violinists’ and continuo-players’ hands give life to instrumental music, a microcosm of heavenly perfection, yet swayed by the human passions of the Four Humours. All this is guided by Tactus and expressed by gestures.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg"><img data-attachment-id="3487" data-permalink="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/convent-grille/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg" data-orig-size="186,271" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Convent grille" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg?w=186" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg?w=186" loading="lazy" class="alignnone size-full wp-image-3487" src="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg" alt="" width="186" height="271" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg 186w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg?w=103&h=150 103w" sizes="(max-width: 186px) 100vw, 186px" /></a></p> <p> </p> <h2>Invisible music</h2> <p> </p> <p>Nevertheless, all Leonarda’s handiwork – composition, Tactus, instrumental-playing and rhetorical gestures – remained unseen. Hidden from the congregation by the grille that closed nuns off from the world, the woman who simultaneously embodied an ardent lover and a religious mystic communicated <em>energia</em> (the baroque spirit of performance), by the <u>aural</u> Enargeia of detailed text and precise <em>tempo</em>. Unlike an opera or court singer, she ‘moved the passions’ and warmed her listeners’ hearts to love by evoking ‘affections of the soul’ in sensual visions that were entirely imagined, not seen.</p> <p> </p> <p>Invisible to her 17<sup>th</sup>-century listeners, almost unnoticed by musicologists until recently, women’s hands are the heart and soul of Leonarda’s music.<br /><br /><br /><em><a href="https://vaasabaroque.com/play/">Listen here</a></em></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg"><img data-attachment-id="3490" data-permalink="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/17th-century-nun/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg" data-orig-size="200,256" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="17th century nun" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg?w=200" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg?w=200" loading="lazy" class="alignnone size-full wp-image-3490" src="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg" alt="" width="200" height="256" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg 200w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg?w=117&h=150 117w" sizes="(max-width: 200px) 100vw, 200px" /></a></p> <p> </p> <div id="atatags-370373-6748698f2d954"> <script type="text/javascript"> __ATA.cmd.push(function() { __ATA.initVideoSlot('atatags-370373-6748698f2d954', { sectionId: '370373', format: 'inread' }); }); </script> </div><div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3480" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3480" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Isabella%20Leonarda%20400th%20anniversary&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F09%2F06%2Fisabella-leonarda-400th-anniversary%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-early-music tag-early-opera tag-emotions tag-expression tag-hip tag-historical-action tag-history-of-emotions tag-mozart tag-muovere-gli-affetti tag-phrasing tag-tactus tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/" rel="bookmark">Tubae mirae sonus: Mozart & Latin, Gesture & Enargeia</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/#comments">3</a></p> </header> <div class="entry-content"> <h2>The wondrous trumpet – not!</h2> <p>It’s the most famous solo of all time for this instrument, representing the Last Trumpet on the Day of Judgement, and Mozart’s autograph score gives the short title by which we all know it: <em>Tuba mirum</em>, the wondrous trumpet. <br /><br /></p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png"><img data-attachment-id="3457" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/tuba-mirum-short-title/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png" data-orig-size="165,94" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tuba mirum short title" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png?w=165" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png?w=165" loading="lazy" class="alignnone size-full wp-image-3457" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png" alt="" width="165" height="94" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png 165w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png?w=150&h=85 150w" sizes="(max-width: 165px) 100vw, 165px" /><br /></a><br />Unfortunately, that’s quite wrong.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg"><img data-attachment-id="3459" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/angel-trumpet/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg" data-orig-size="888,492" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Angel trumpet" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3459" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg" alt="" width="440" height="244" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=440&h=244 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=880&h=488 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=150&h=83 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=300&h=166 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=768&h=426 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The well-known fact that Mozart wrote this sombre fanfare for trombone, not for trumpet, is not the only problem. <em>Tuba mirum </em>simply does not mean “wondrous trumpet”.<br /><br />In Latin, <em>tuba </em>(nominative case) is a feminine noun meaning trumpet. But <em>mirum</em> is the masculine-accusative form of the adjective ‘wondrous’. Gramatically, the two words do not agree. It is not the trumpet that is wondrous.</p> <p>When we compare another famous solo, representing the very same Biblical scene, we have to ask two questions. Why did Mozart choose a trombone, and why does his fanfare go downwards?</p> <h2><br />Handel’s trumpet<br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png"><img data-attachment-id="3461" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/the-trumpet-shall-sound-ms/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png" data-orig-size="462,355" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="The trumpet shall sound MS" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=440" loading="lazy" class="alignnone size-full wp-image-3461" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png" alt="" width="440" height="338" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=440&h=338 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=150&h=115 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=300&h=231 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png 462w" sizes="(max-width: 440px) 100vw, 440px" /></a></h2> <p><br />Handel’s well-known setting of <em>The Trumpet shall sound </em>in <em>Messiah </em>features an actual trumpet playing upward-directed fanfares, with a thrilling ascent to high A in the second phrase. That’s more like it, isn’t it?<br /><br />The expressivity of 18th-century music is rooted in the ancient Greek concept of <em>Enargeia</em>, the emotional power of detailed description. <a href="https://12b78246-040b-49e8-cd54-7299d0ed188d.filesusr.com/ugd/a41fa4_55670fb7a85541ea8ecd1b883cab59f0.pdf">Read more about <em>Enargeia.</em></a> Enargeia employs Rhetorical language to describe a scene so vividly, that the audience feel they can almost see it with their own eyes. The visions in their imagination send the <em>energia</em> – the energetic spirit of emotional communication – from the mind to the body, producing the physical and emotional responses, the physiological and psychological manifestations of <em>Affekt</em>.</p> <p>Composers aligned their music as closely as possible to the detailed imagery of the text, creating aural Enargeia, like the sound effects in a stage or cinematic drama. These Effects were intended to induce emotional response, to instill Affekt amongst listeners. So rhetorical Enargeia creates embodied Energia, sound Effects create emotional Affekt.<br /><br />The power of Enargeia is in the detail. So when we hear the words ‘The Trumpet shall sound’, the emotional communication is reinforced when we indeed hear the sound of a trumpet. And when the dead are ‘raised’, the vocal and instrumental sounds are also raised in pitch. The powerful connection created by this Word-Painting (also known as Madrigalism) is further reinforced by the gestures with which a singer (in the theatre, or in concert) or a preacher (in church) would accompany the text.</p> <p>At ‘The Trumpet shall sound’ the right hand would be extended from its resting position at the waist, probably to shoulder height. Since ‘Dead’ were still in their graves, the gesture on this word would be downward, perhaps even with the left hand. And then both hands ‘shall be raised’ (the right hand leading), and (the text repeats) raised again, perhaps beyond the normal limit of shoulder-height, lifting eyes and hands towards heaven. The crucial word ‘incorruptible’ might be pointed out with the gesture for ‘pay attention’. </p> <p><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg"><img data-attachment-id="780" data-permalink="https://andrewlawrenceking.com/2014/08/10/how-did-it-feel-a-history-of-heaven-hearts-harps/attentionem-poscit-and-art/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg" data-orig-size="525,266" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Attentionem poscit and art" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-780" src="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg" alt="" width="440" height="223" srcset="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=440&h=223 440w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=150&h=76 150w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=300&h=152 300w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg 525w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p><br />Every detail of text, each baroque gesture of the hand, is paralleled in Handel’s music. Enargeia will have its effect. <br /><br />The biblical text itself is from Paul’s first Epistle to the Corinthians, powerfully declaring the Gospel which he preaches (verse 1). The sound of the trumpet (verse 52) is introduced by the recitative ‘Behold, I tell you a mystery’ (verse 51). ‘Behold’ – look! – is the defining signal that Enargeia is about to be employed. The audience is literally commanded to <span style="text-decoration:underline;">see</span> the ‘mystery’ that they are told by the words and music.<br /><br /><br /></p> <h2><br />Mozart’s trombone</h2> <p>Mozart’s <em>tuba </em>provides sound effects for a scene described in the Sequence <em>Dies irae</em>, part of the Requiem Mass. ‘The day of wrath, that day will dissolve the world in ashes’. The context is not the good news of Paul’s declaration of the Gospel, but a dark prophecy from Zephania 1, verse 15.</p> <p style="text-align:left;padding-left:40px;">That day is a day of wrath, a day of trouble and distress, a day of wasteness and desolation, a day of darkness and gloominess, a day of clouds and thick darkness; a day of the trumpet and alarm…</p> <p style="text-align:left;">The third stanza of the Requiem Sequence describes how the trumpet’s sound is heard in the graves all around, to summon everyone to the Final Judgement. When we consider the image in detail, as if we could see it in front of our own eyes, it becomes evident [the Latin term for Enargeia is <em>Evidentia</em>] that this Last Trumpet sounds <span style="text-decoration:underline;">below</span>, in the graves, even in Hell itself.<br /><br />Whereas the Baroque Trumpet is associated with glorious majesty, heraldry and heaven, the Trombone (in English, Sackbut) was associated with solemnity and the underworld. Trombones accompany the lower voices in Monteverdi’s settings of liturgical psalms, and set the scene in Hell for Act III of <em>Orfeo </em>(1607). Trombones represent the Furies of Hell in Gluck’s <em>Orfeo ed Euridice</em> (1762) and the supernatural power of the statue of the Commandatore in the cemetery scene of Mozart’s <em>Don Giovanni </em>(1787).<br /><br />The blast of this solemn instrument is appropriately directed downwards in Mozart’s <em>Requiem </em>(1791, incomplete), to resound <em>per sepulchra regionum </em>– throughout the regions’ graves. So whilst we hear the word <em>Tuba</em>, we simultaneously hear that ‘dread Trumpet’ sustaining a low note – as if down amongst the graves. <br /><br />Whilst the Gesture for these words might commence medium-high for <em>tuba</em>, it will inevitably descend (and probably leftwards) towards <em>sepulchra regionum</em>. So Mozart’s choice of Trombone and a downward-directed fanfare are perfectly in keeping with the principles of Enargeia.<br /><br />Two bars later, listeners find themselves down in the graves with the singer on low Bb, whilst the dread sound is diffuse, scattered from way above, solemn even mournful with expressive Ab and even Gb. The picture is complete and detailed, and the emotional effect for the vision-imagining listener is very different from that of Handel’s trumpet. <br /><br />Handel’s listeners are triumphant, given the promise of eternal life: “… and we shall be changed. We <span style="text-decoration:underline;">shall</span> … be <span style="text-decoration:underline;">changed</span>!”. Mozart’s congregation are called to be judged for their sins, whilst they reflect on death. <br /><br />Every detail of the texts, each baroque gesture of the hand, two contrasting imagined visions are paralleled in Handel’s and Mozart’s musics. Enargeia will have its effects. </p> <h2 style="text-align:left;"><br />Detail <br /><br /></h2> <p>Enargeia is all about detail, and there still remains one niggling difficulty with Mozart’s setting. <em>Tuba mirum </em>does <span style="text-decoration:underline;">not</span> mean ‘wondrous Trumpet’, or even ‘dread Trumpet’. The adjective <em>mirum</em> is gramatically attached to the noun <em>sonum</em>, the object of the verb (present participle) <em>spargens. </em><strong>The trumpet, scattering its dread sound throughout the regions’ graves, calls everyone before the Throne [of Judgement].<br /><br /></strong>It is not the trumpet itself, but its <span style="text-decoration:underline;">sound</span>, that is wondrous. In terms of Enargeia, the effect of sound is to create Affekt. The instrument itself is a real-world 18th-century trombone, but the Enargeia of its sound creates the emotional effect of the Day of Judgement.<br /><br />Why does this nit-picking of Latin grammar matter? In a word, punctuation. In music, that means phrasing.<br /><br />The English word-order makes it clear that a comma needs to be understood, between ‘The trumpet’ and ‘scattering its dread sound’. Latin allows <em>spargens sonum mirum </em>to be re-ordered as <em>mirum spargens sonum </em>(for the sake of the rhymed verse), but that comma still needs to be understood after <em>tuba</em>.<br /><br />But ever since 1791, the well-known short title has encouraged us to think of the text as <em>Tuba mirum</em>. Whoops! The sense of the text suggests rather the musical phrasing <em>Tuba // mirum spargens so………num </em>with the word for ‘sound’ extended for great Enargeatic effect. If that phrasing sounds strange to your ears, that’s entirely the point of this article.</p> <h2>Phrasing</h2> <p><br />A frequently-encountered 18th-century principle of phrasing [see Quantz for example] is that notes which move by step tend to be legato, jumps suggest staccato or a break in the phrase. At first glance, the sound of Mozart’s wondrous trumpet [in Latin, that would be <em>Tubae mirae sonus</em>] seems to be all jumps, there is no step-wise movement at all. But if we consider that the trombone is representing a trumpet, then (in the 18th century) adjacent notes in the harmonic series could count as ‘steps’, not jumps.</p> <p>In this sense, <em>Tuba </em>is linked as two adjacent notes, and there is a marked jump upwards (wondrously: the gesture to open the hands palms upwards and raise the eyes to heaven in awe, <em>admiratio</em>) for <em>mirum</em>, from where the harmonics continue smoothly downwards. <br /><br />(OK, the harmonic series more-or-less continues: depending on which octave you imagine has the fundamental Bb, the descending phrase either includes a low D which is not strictly in the series, or wondrously avoids middle C. But poetic imagery does allow some poetic license!)</p> <p><br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png"><img data-attachment-id="3465" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/admiror-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png" data-orig-size="463,417" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Admiror" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=440" loading="lazy" class="alignnone size-full wp-image-3465" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png" alt="" width="440" height="396" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=440&h=396 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=150&h=135 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=300&h=270 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png 463w" sizes="(max-width: 440px) 100vw, 440px" /></a><br /><br />Every detail of text, each historical gesture of the hand, is paralleled in Mozart’s music. Enargeia will have its effect. <br /><br /><br /></p> <h2>Tactus and Tempo<br /><br /><br /></h2> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png"><img data-attachment-id="3466" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/tuba-c-slash/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png" data-orig-size="116,63" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tuba C-slash" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png?w=116" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png?w=116" loading="lazy" class="alignnone size-full wp-image-3466" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png" alt="" width="116" height="63" /></a></p> <p> </p> <p>In the 18th-century, <em>tempo </em>defines not just speed, but the emotional quality of the movement, conveyed not by modern conducting, but by Tactus-beating. The dramatic timing of the Enargeatic visions depends on musical rhythm. As many period writers expressed it: <a href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/">Tactus is the Soul of Music</a>.<br /><br />Although Mozart clearly wrote C-slash, Andante, many printed editions show the time-signature C. See this article by Douglas Yeo on the wondrously-named blog <a href="https://thelasttrombone.com/2016/10/14/rethinking-mozarts-tuba-mirum/"><em>The Last Trombone</em></a> for more. </p> <p><br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png"><img data-attachment-id="3467" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/tuba-mirum/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png" data-orig-size="750,556" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tuba mirum" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=440" loading="lazy" class="alignnone size-full wp-image-3467" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png" alt="" width="440" height="326" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=440&h=326 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=150&h=111 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=300&h=222 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png 750w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3432" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3432" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Tubae%20mirae%20sonus%3A%20Mozart%20%26%20Latin%2C%20Gesture%20%26%20Enargeia&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F07%2F09%2Ftubae-mirae-sonus-mozart%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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href="https://andrewlawrenceking.com/tag/baroque-opera/" rel="tag">Baroque Opera</a>, <a href="https://andrewlawrenceking.com/tag/early-music/" rel="tag">Early Music</a>, <a href="https://andrewlawrenceking.com/tag/early-opera/" rel="tag">Early Opera</a>, <a href="https://andrewlawrenceking.com/tag/emotions/" rel="tag">Emotions</a>, <a href="https://andrewlawrenceking.com/tag/expression/" rel="tag">Expression</a>, <a href="https://andrewlawrenceking.com/tag/hip/" rel="tag">HIP</a>, <a href="https://andrewlawrenceking.com/tag/historical-action/" rel="tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/tag/history-of-emotions/" rel="tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/tag/mozart/" rel="tag">Mozart</a>, <a href="https://andrewlawrenceking.com/tag/muovere-gli-affetti/" rel="tag">muovere gli affetti</a>, <a href="https://andrewlawrenceking.com/tag/phrasing/" rel="tag">Phrasing</a>, <a href="https://andrewlawrenceking.com/tag/tactus/" rel="tag">Tactus</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/" title="Permalink to Tubae mirae sonus: Mozart & Latin, Gesture & Enargeia" rel="bookmark" class="permalink"><span class="month upper">Jul</span><span class="sep">·</span><span class="day lower">09</span></a></p> </footer> </article> <article id="post-3350" class="post-3350 post type-post status-publish format-standard hentry category-continuo category-early-harps category-flow category-history-of-emotions category-introductions category-music-dance-swordsmanship category-rhythm category-single-action-harp category-text tag-18th-century tag-baroque-music tag-baroque-opera tag-cousineau tag-cpe-bach tag-early-harp tag-early-music tag-emotions tag-expression tag-flow tag-harp tag-harp-method tag-hip tag-history-of-emotions tag-methode-de-harpe tag-mozart tag-ornamentation tag-ornaments tag-phrasing tag-single-action-harp tag-tactus tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/" rel="bookmark">Baroque FAQs for Modern Musicians</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/#respond"><span class="no-reply">0</span></a></p> </header> <div class="entry-content"> <p>This is the last in a series of articles following up classes on <strong>Early Music on Modern Harps </strong>that I taught this semester for the Guildhall School of Music & Drama, London. Although our case-studies come from harp repertoire, the principles we explored are relevant for any Historically Informed performer. This article could make a useful introduction for <span style="text-decoration:underline;">any</span> modern instrumentalist or singer.</p> <p>Previous articles in the series discuss <a href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/">Historical Principles & Online Resources</a>, <a href="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/">Principles & Practice</a>, <a href="https://andrewlawrenceking.com/2020/05/27/introduction-to-mid-18th-century-ornamentation/">Ornamentation</a> and <a href="https://andrewlawrenceking.com/2020/06/02/vraie-mouvement-introduction-to-french-baroque-dance-music/">Dance Music</a>. Our focus was on the 18th century (specific works by J. S. Bach, Handel, C.P.E. Bach, Mozart) and the principal sources consulted were the three <em>Versuch </em>publications around the middle of the century (Quantz, CPE Bach, Leopold Mozart), the <em>Essai </em>for harp by Meyer, and (back in 1698) Muffat’s remarks on French dance-style in <em>Florilegium Secundum</em>. Links to all of these sources and more, in the previous posts.</p> <p>The questions below were asked by students in the final class, and/or arose from work-in-progress recordings of their baroque pieces that they sent me for private comments. Whereas in previous articles, the agenda was set by the historical priorities of period sources, in this post the questions were posed by today’s students. This is a significant distinction: what we today think is a high priority may not have been so important back then. It’s always good to assess from historical sources how significant your question was, in the dialetic of the period.</p> <p> </p> <blockquote><p>What are Good & Bad notes, are they just loud & soft?</p></blockquote> <p>The concept of <a href="https://andrewlawrenceking.com/2013/09/22/the-good-the-bad-the-early-music-phrase/">Good/Bad notes</a> is fundamental to renaissance and baroque music, and is given a lot of attention in historical sources. The underlying principle is that instrumental music imitates the human voice, playing as if the music had a text. In vocal music, the sung text is of paramount importance. <a href="https://andrewlawrenceking.com/2015/01/25/play-it-again-sam-the-truth-about-caccinis-sprezzatura/">Caccini (1601)</a> writes that Music is “text & rhythm, with sound last of all. And not the other way around”. The structure of each mid-18th-century <em>Versuch </em>is a short introduction to musical fundamentals, followed by a large section on what Early Musicians call “articulation”: how to start a note, how to join or separate notes into short groups. For flute, this articulation is done with tonguing syllables; string instruments do it with bow-strokes; keyboard and harp do it with fingering patterns. This is a high priority question for period writers. See <a href="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/">Principles & Practice</a>.</p> <p> </p> <h3>Good & Bad Syllables</h3> <p>Good/Bad notes in music correspond to Good/Bad syllables in speech. In music and in poetics, these syllables are sometimes called Long/Short: Good is Long, Bad is Short. In modern terms, we would say accented and unaccented syllables. In the mediterranean languages, the accented syllable is not hit suddenly on the intial consonant, but gets its accent from a sustained weight on the vowel: this corresponds to Leopold Mozart’s description of a slow start to the bow-stroke, even on a loud note.</p> <p>Thus, baroque violin teachers will often coach modern string-players to use a <span style="text-decoration:underline;">slow</span> bow-stroke where an “accent” is needed. Similarly on the low-tension strings of early harps, a Good note can have a slow finger-movement. This is not so easy to apply to modern harp, where the heavy strings need a certain amount of snap in the finger-action. But imagining that the note has a slow bloom, rather than a percussive attack is already very helpful.</p> <p>Comparing Good/Bad to language gives us the clue that it does not have to be exaggerated: it just has to be the right way around. When we say the word “around”, we do not make a large, or conscious accent on the second syllable. But we would notice immediately if someone accented the first syllable instead. This is what is needed for our Good/Bad notes too.</p> <h3>Good & Bad Beats</h3> <p>During the 18th century, the idea developed of an intrinsic heirarchy of the bar. Today, we learn this in our elementary music education. In common time, beat 1 is strong, beat 2 is weak. Beat 3 is medium-strong, but less than beat 1. Beat 4 is weak, or could be energised as an upbeat. This is the basic shape of Time, although particular pieces will make artistic variations around this underlying structure. The principle extends to sub-divisions of the beats: <strong>ONE</strong> + two + THREE + four + And to the next level of subdivision: <strong>ONE</strong> a + a two a + a THREE a + a four a + a. In 3/4 time: <strong>ONE</strong> a + a two a + a THREE a + a.</p> <p>Good/Bad is definitely <strong>not</strong> forte/piano. But there is something of Long/Short about it, in two inter-related ways: how long is the note, and how long is the time-space it can occupy.</p> <p>If we think about the repeated quavers in the Left Hand of CPE Bach’s Sonata, we could beat Tactus as quaver-down, quaver-up. These gives a pair-wise groove of Good-Bad. Time itself has this groove, so that <strong>ONE </strong>is imperceptibly longer than +. This intrinsic hierarchy of the bar gradually becomes the main focus of 18th-century discussions of Good/Bad, for example in <a href="https://imslp.org/wiki/Anleitung_zum_Clavierspielen_(Marpurg%2C_Friedrich_Wilhelm)">Marpurg (1755)</a>.</p> <h3>Good & Bad Notes</h3> <p>Meanwhile, the notes we play into this grooved Time have a patterning of their own, the <strong>ONE </strong>is definitely a long note and the + is a short note. This relationship between notes was the focus of 17th-century discussion of Good/Bad, for example in Muffat (1698).</p> <p>These two effects combine so that <strong>ONE </strong>is a long note fully occupying a long space; whilst + is a short note only partially occupying what is anyway a shorter space.</p> <p>Quantz gives two ways of counting a slow 3/4, in quavers or in crotchets. If we count in crotchets, the groove is <strong>ONE </strong>two THREE, or Long Passive Short. So the downbeat quaver is a long note in the longest space; beat two has a long passivity; beat three is a long note in a short, actively upbeat space. All the offbeat quavers are short/bad. We could pronounce as a mantra something like the words “<strong>PLAY</strong>er, Silence, BEATer” to get the feeling of the combination of pairwise quavers with triple-metre crotchets.</p> <p>And we need to practise the Left Hand, with any continuo realisation we might add, until this fundamental rhythm is absolutely correct.</p> <p>Whilst it’s easy to grasp the intellectual idea of Good/Bad, it needs lots of practice to acheive it effortlessly and without exaggeration. That practice is training the ears to listen for Good/Bad and to spot any wrong-way-around relationships; and training the fingers to execute the phrasing as if automatically, and at a very subtle level. Ears and fingers must be trained in partnership.</p> <p>A particular case of Good/Bad, and similarly linked to the scansion of poetry, is the idea that the last Good note in a phrase has the <strong>Principal Accent</strong>. Usually, this is not the very last note of the phrase, one or more Bad notes follow. A useful general rule therefore, is that for almost every phrase, the <strong>Last note is short and un-accented</strong>.</p> <p> </p> <blockquote><p>How to create ‘mini-phrases’?</p></blockquote> <p>In Baroque music, long passages of semiquavers are not ‘<em>moto perpetuo</em>‘, but are built-up from many short phrases. CPE Bach calls these <em>Figuren </em>(figures) the most short-term units (say 3 to 5 notes), and <em>Gedanken</em> (thoughts, ideas), perhaps linking two or three <em>Figuren</em>. One passage of semiquavers may contain several <em>Gedanken</em>, each containing several <em>Figuren</em>. Just as in Rhetorical Speech, we need to join together what belongs together, and separate each group of notes from the next group. These words occur very frequently in the <em>Versuch</em>, this is an important concept in this period.</p> <p>Typically, this joining and separating creates rhythmic patterns that are maintained until there is a clear change. But from one unit to the next, even whilst the basic pattern is maintained (i.e. the same number of notes starting with the same relation to the Tactus, on-beat, after the beat, or before the beat) the sequence often continues by contrasts. A legato group is followed by an arpeggio group, a staccato group etc. See <a href="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/">Principles & Practice</a>.</p> <p>Useful guide-lines are: “<strong>Last note short</strong>“, “<strong>Breathe after the one</strong>“, “<strong>Stepwise motion ~ legato, jumps ~ staccato</strong>“. A jump can also show the place for a mini-break. The mini-phrases are defined by mini-breaks, often between two successive semiquavers: the Tactus beat in crotchets or minims continues without faltering.</p> <p>If the notes are not whizzing by too quickly, it may be possible to shorten the last note of a mini-phrase by damping, create an actual silence, and start the next mini-phrase with the appropriate Bad or Good articulation.</p> <p>In allegro semiquavers, there will not be time for this. But the separation between one mini-phrase and the next can be communicated with an unaccented last note of the old phrase, a sliver of time for a mini-breath (but without disturbing the Tactus), an energised re-start of the new phrase, and a clear sense of repeating a unit, and of any contrast between the previous unit and the new one.</p> <p> </p> <blockquote><p>What about historical fingering?</p></blockquote> <p>This is another crucial concept for this period. After a short introduction, CPE Bach’s <em>Versuch </em>devotes almost a third of the book, pages 15-50, to fingering.</p> <p>For harps and keyboards, 18th-century fingerings often clarify join/separate: the principle is to move the hand only in the mini-breaks, and keep each mini-phrase ‘in the hand’. This principle is utterly different from the modern concept of fingering, which seeks to make a passage as safe and efficient as possible. On the contrary, historical fingerings introduce deliberate ‘inefficiencies’, in order to <span style="text-decoration:underline;">discourage</span> smooth joining of what is supposed to be separate.</p> <p>In the following examples of harp-fingerings, I apply the principles of historical fingerings (from Meyer 1763 – see <a href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/">Online Resources</a> – and – specially recommended, and now available free online – <a href="https://imslp.org/wiki/M%C3%A9thode_de_harpe_(Cousineau%2C_Jacques-Georges)">Cousineau 1784</a>) to examples from CPE Bach’s harp <em>Sonata </em>and Mozart’s flute & harp <em>Concerto</em>.</p> <p>[My Cousineau link takes you to the second ‘imperial’ edition, c1803. The Fuzeau facsimile publication states 1784 for the first edition, the US Library of Congress (who have online images of each page) says ‘1786?’ The title pages are undated. At the time of writing, an original second edition was being sold for €1,000]</p> <p>An efficient modern fingering for CPE Bach second movement facilitates joining the third note D to the next G, with a hand-movement before the B [as shown by the square brackets].</p> <p>EXAMPLE 1 CPE Bach</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png"><img data-attachment-id="3398" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-1/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png" data-orig-size="1434,351" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 1" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3398" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png" alt="" width="440" height="108" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png?w=440&h=108 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png?w=880&h=216 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png?w=150&h=37 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png?w=300&h=73 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-1.png?w=768&h=188 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The guideline “breathe after the one” would suggest a separation after the D, making three upbeats to the middle of the bar. This is supported by the <em>Figur </em>in the LH, which has three upbeats at the end of the bar. So my historically informed fingering moves the hand “after the one”.</p> <p>EXAMPLE 2 CPE Bach/Cousineau</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png"><img data-attachment-id="3399" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-02/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png" data-orig-size="1400,288" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 02" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png?w=440" loading="lazy" class="alignnone size-full wp-image-3399" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png" alt="" width="440" height="91" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png?w=440&h=91 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png?w=880&h=182 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png?w=150&h=31 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png?w=300&h=62 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-02.png?w=768&h=158 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In red, I show the <em>Abzug </em>(phrase-off, <em>forte/</em><em>piano</em>, see below) in the Appoggiatura, recommended by many sources. CPE himself says that it is the most important element. Quantz gives detailed dynamic contrasts for each note within ornaments. Leopold Mozart instructs violinists to <em>hineinschleifen </em>(sneak into, slide into) the main note (<em>piano</em>).</p> <p>After the second appoggiatura, we should also observe the good/bad relationship of F#-G, especially because the ornamented F# is the Principal Accent of the phrase, after which the guideline applies: “last note short, no accent”.</p> <p>For a scale, Meyer gives two alternative fingerings. If there is nothing else afterwards, the standard fingering jumps the thumb to make the long note different from the run of short notes. Notice that within the scale, the hand jumps “after the one”. This is his default fingering. The alternative, more familiar to modern eyes, can be applied when the notes are very fast, but it lacks the detailed phrasing of the default option.</p> <p>EXAMPLE 3 after Meyer & Cousineau</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png"><img data-attachment-id="3402" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-03/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png" data-orig-size="1367,189" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 03" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3402" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png" alt="" width="440" height="61" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png?w=440&h=61 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png?w=880&h=122 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png?w=150&h=21 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png?w=300&h=41 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-03-1.png?w=768&h=106 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>But the alternative becomes preferable, if the top note is not to be distinguished as ‘different’, but joined into the scale, with a break “after the one”. See Example 4.</p> <p>In this passage from the first movement of the Mozart, the first note of the scale (treble C) is on the beat, so it is a Good. The next note D is also a good. For flautists (after Quantz): “Di diddle”, for – old fashioned – violinists (after Muffat): Down, down-up. (Leopold Mozart would probably apply some interesting slurred bowing). For harp, perhaps 4 4321321 encouraging a separation after the first note; rather than the ‘more efficient’ 4 3214321, which would join irrevocably after the first note.</p> <p>EXAMPLE 4 Mozart</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png"><img data-attachment-id="3428" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-04/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png" data-orig-size="1436,584" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 04" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png?w=440" loading="lazy" class="alignnone size-full wp-image-3428" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png" alt="" width="440" height="179" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png?w=440&h=179 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png?w=880&h=358 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png?w=150&h=61 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png?w=300&h=122 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-04-2.png?w=768&h=312 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p> </p> <p> </p> <p>I have adjusted the beaming. The fingering follows the smallest units of <em>Figuren</em>, and // marks the caesura between one <em>Gedanke </em>and the next.</p> <p>The pattern of “breathe after the one” continues with a caesura after the high a, facilitated by fingering, and similarly after the g in the third bar. But the music imposes a new pattern, also clarified by my historically informed fingering, at the beginning of the last bar. Red f_p shows two more examples of <em>Abzug</em>.</p> <p>Between the 1760s and the 1780s, the standard Good/Bad descending fingering for harp 12323232 (familiar also from 17th-century Spanish harp technique) is gradually superseded by Join/Separate fingerings using all four fingers. You start with the thumb, and the last, lowest four notes get 1234. In between, you use as many fingers as needed for the number of notes you have. So a seven-note descent would be 123 1234.</p> <p>The adjustment takes place at the upper end of the scale, so that the last, lowest notes use all four fingers 1234. This results in a distinctive fingering for a five-note descent, in which you hop the thumb: 1 1234. [Fully-fingered sources feature a LOT of repeated thumb-strokes in this period.]</p> <p> </p> <p>EXAMPLE 5 Mozart/Cousineau</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png"><img data-attachment-id="3406" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-05/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png" data-orig-size="1397,274" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 05" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3406" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png" alt="" width="440" height="86" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png?w=440&h=86 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png?w=877&h=172 877w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png?w=150&h=29 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png?w=300&h=59 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-05-1.png?w=768&h=151 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In Example 5, I apply Cousineau’s (1784) fingering principles to Mozart’s (1778) descending scales in parallel tenths: This fingering encourages “breathe after the one” between the two <em>Figuren </em>of the first bar, shown by my changes to the beaming. The octave leap indicates a stronger “breathe after the one” between two <em>Gedanken</em>, shown by my // caesura mark.</p> <p>It would not be inappropriate to use ‘old-fashioned’ 32 descending fingerings. These would ensure correct Good/Bad relationships, but would leave the player to create Join/Separate between <em>Figuren</em>.</p> <p>EXAMPLE 6 Mozart/Meyer</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png"><img data-attachment-id="3407" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-06/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png" data-orig-size="1395,274" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 06" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png?w=440" loading="lazy" class="alignnone size-full wp-image-3407" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png" alt="" width="440" height="86" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png?w=440&h=86 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png?w=876&h=172 876w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png?w=150&h=29 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png?w=300&h=59 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-06.png?w=768&h=151 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>Contrariwise, ‘fashionable’ Cousineau-type fingerings (mentioned as an alternative by Meyer 20 years earlier, so certainly not excluded from Mozart’s <em>Concerto</em>) prioritise Join/Separate, and leave the player to take care of Good/Bad. As Leopold Mozart makes clear in his detailed instructions for varying the pressure from note to note, within a single bow-stroke, 18th-century music requires both Good/Bad <span style="text-decoration:underline;">and</span> Join/Separate.</p> <blockquote><p>What about the Bass?</p></blockquote> <p>Period sources pay great atttention to the continuo bass. The second edition of CPE Bach’s <em>Versuch </em>has an additional and longer book, 355 pages entirely devoted to <em>Generalbass</em>, including a final chapter which extends realisation of a continuo-bass towards improvisation of a free Fantasia.</p> <p>Modern harpists tend to focus on the right-hand melody, viewing the music from the top down. Baroque music is constructed from the bottom upwards: the bass is no mere accompaniment, but rather provides the fundamental framework of rhythm and harmony that defines the structure for the ornamental melody. The heritage of Renaissance polyphony is that music is woven from the strands of individual ‘voices’; each strand has its own integrity, character and logic. The typical texture of Baroque music is the polarisation of treble and bass, i.e. 2-voice polyphony with a continuo-realisation filling-in the mid-range.</p> <p>From the beginning of the Baroque period (Agazzari 1607) to the transition into the Classical (Leopold Mozart 1756), period sources assign to the bass the role of maintaining Tactus. The continuo does not follow the soloist, rather the bass creates a dependable rhythmic structure – like the rhythm section of a jazz-band. As with a jazz-band, it is acceptable for a baroque soloist not to be together with the bass, for the sake of elegant expressiveness around the steady groove: it is <span style="text-decoration:underline;">not</span> acceptable for the groove to falter. See <a href="https://andrewlawrenceking.com/2015/10/12/monteverdi-caccini-jazz/">Monteverdi & Jazz.</a> This is of course the opposite of today’s standard practice, even amongst most Early Music ensembles.</p> <p>Harpists, lutenists and keyboard players must combine the roles of soloist and bass-section in one person. Modern players might need reminding to play the bass more strongly (as an equal partner), and to maintain the bass rhythm in Tactus (whatever technical challenges, complex ornaments, or expressive moments the melody might have).</p> <h3>Flow</h3> <p>My research in Consciousness Studies suggests that the optimal strategy could be to place one’s conscious attention on the bass, focussing on tight connection to the steady Tactus. Assuming sufficient advance practice, the melody can be better left to the unconscious mind, letting the fingers ‘do it for themselves’. Trills, for example, go better when you don’t think about them. Like a hypnotist’s swinging pocket-watch, or a meditation mantra, the constant down-up of Tactus (physically enacted in rehearsal, or imagined in solo performance) entrains the mind into Flow.</p> <p>The paradoxical instruction to “<span style="text-decoration:underline;">Listen</span> more than you play” can help the mind find that state of consciousness where mindful Observing facilitates ‘personal best’ performance, without a conscious sense of Doing. In baroque music, you can achieve this by “being the continuo-player”, <span style="text-decoration:underline;">creating</span> the rhythm whilst <span style="text-decoration:underline;">listening to</span> the solo (even though, you are actually playing that solo yourself).</p> <p>Imagining, or even physically beating, a complete Tactus (down-up) to start yourself off (i.e. give yourself “a bar for nothing”) is an excellent way to connect yourself to the power of Tactus, to the Music of the Spheres, as you start to play.</p> <p> </p> <blockquote><p>What to do with Long Trills?</p></blockquote> <p>In a word, practise. Long trills are described in detail in all the mid-18th-century sources under discussion here. Harp sources admit that they are difficult, and they are more difficult still on modern harp.</p> <p>So practise. Practise trills non-metrically, with a long appoggiatura, and then repercussions accelerating from slow to fast and all the way into the final turn and last note.</p> <p>Then practise this beautifully shaped trill, whilst playing a simple bass in crotchets. The bass maintains Tactus, the trill is not aligned note-for-note with the bass, but you find the last note simultaneously. If the trill is long enough, combine it with <em>messa di voce</em>. But don’t try to be super-loud whilst trilling, and don’t try for too many reiterations. Shapeliness in the trill, and Tactus in the bass, are the priorities.</p> <p> </p> <p><div data-shortcode="caption" id="attachment_119" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg"><img aria-describedby="caption-attachment-119" data-attachment-id="119" data-permalink="https://andrewlawrenceking.com/2013/09/19/single-action-harp-making-sensibility-of-the-methodes/cpe-bach-adolph_menzel_-_flotenkonzert_friedrichs_des_grosen_in_sanssouci/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg" data-orig-size="800,549" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="CPE Bach Adolph_Menzel_-_Flötenkonzert_Friedrichs_des_Großen_in_Sanssouci" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg?w=440" loading="lazy" class="wp-image-119 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg" alt="" width="440" height="302" srcset="https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg?w=440&h=302 440w, https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg?w=150&h=103 150w, https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg?w=300&h=206 300w, https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg?w=768&h=527 768w, https://andrewlawrenceking.com/wp-content/uploads/2013/09/cpe-bach-adolph_menzel_-_flc3b6tenkonzert_friedrichs_des_groc39fen_in_sanssouci.jpg 800w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-119" class="wp-caption-text">Frederick the Great plays a flute concerto in Sans Souci Palace. CPE Bach accompanies at the harpsichord, Quantz looks on at his pupil’s performance.</p></div></p> <p> </p> <p> </p> <blockquote><p>What is <em>Abzug</em>?</p></blockquote> <p>This is another central concept in period discourse about ornamentation. Literally “pulling off”, <em>Abzug </em>is the <em>forte</em>/<em>piano </em>contrast between an appoggiatura and its main note.</p> <p>Leopold Mozart describes it as sliding into, sneaking into the main note (see the music examples above). Quantz describes a slight swelling of the sound on the ornamental note (so <span style="text-decoration:underline;">not</span> an aggressive attack, but a slow-blooming sound; for violin a slow bow-stroke), with a smooth, soft transition into the main note.</p> <p>On lute, one could literally “pull-off” from the fingerboard with a left-hand finger, in order to play the main note without any plucking action of the right hand. On harp, we can imitate this with a slow but firm finger-movement on the ornamental note, and a very passive action on the main (second) note, avoiding any articulate start-noise whatsoever.</p> <p>Practise it.</p> <p>The same <em>forte</em>/<em>piano </em>effect is needed every time from dissonance to resolution, as well as for <span style="text-decoration:underline;">any</span> melodic moment with a pair of notes that function like a written-out appoggiatura. In the first music example above, as well as the <em>Abzüge</em> marked in red for explicit appoggiaturas, a subtle version of the effect is needed in the second bar on the high c-b, a-g, and (especially) f#-e pairs, and on the b-a pair at the end of the previous bar.</p> <p>You need <em>Abzug </em>again and again. CPE Bach considers this the most important element of ornamentation. Indeed, the entire repertoire of the <em>Empfindsamkeit </em>period is characterised by the sensitive gesture of <em>Abzug:</em> every piece is full of opportunities to apply it. A missed <em>Abzug </em>is like marching into San Souci Palace in your muddy boots – you have just trampled on what should have been an occasion for the most elegant sophistication.</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3374" style="width: 810px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg"><img aria-describedby="caption-attachment-3374" data-attachment-id="3374" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/muddy-boots/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg" data-orig-size="800,600" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Muddy boots" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg?w=440" loading="lazy" class="wp-image-3374 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg" alt="" width="800" height="600" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg 800w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg?w=150&h=113 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg?w=300&h=225 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/muddy-boots.jpg?w=768&h=576 768w" sizes="(max-width: 800px) 100vw, 800px" /></a><p id="caption-attachment-3374" class="wp-caption-text">Don’t forget to pull them off!</p></div></p> <p> </p> <blockquote><p>Appoggiatura onto a Triplet?</p></blockquote> <p>The standard rule is that the appoggiatura takes half of the value of the written note (two-thirds, if the written note is dotted). So the realisation of an appoggiatura onto a triplet divides the first note in half. But the more important element is – all together now: the <em>Abzug. </em>The appoggiatura itself needs a slow bloom, and the written note is soft; the remaining two notes of the triplet should be light, since they are Bad notes. It should sound like “Play-a Trip-let”, not “Da doo-ron-ron”!</p> <p> </p> <p>EXAMPLE 7 CPE Bach</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png"><img data-attachment-id="3412" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-07/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png" data-orig-size="1377,275" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 07" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3412" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png" alt="" width="440" height="88" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png?w=440&h=88 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png?w=880&h=176 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png?w=150&h=30 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png?w=300&h=60 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-07-1.png?w=768&h=153 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The (appropriate) tendency to lengthen the appoggiatura results in a rhythm that approaches the sound of a quadruplet, though still with the first note louder and slurred to the second. Some sources recommend this quadruplet realisation, others condemn it. Best practice is probably to keep some semblance of a triplet, but with a nice long appoggiatura and plenty of <em>Abzug</em>.</p> <blockquote><p> </p> <p>How to play a Short Trill?</p></blockquote> <p>There are lots of short trills in this repertoire, and longer or turned trills can legimately be simplified into short trills. So it’s a significant element of the style and a most useful skill to acquire.</p> <p>The historical fingering is 2311, and the <em>Abzug </em>requires a decrescendo from first note to last. CPE Bach recommends you to <em>schnellern </em>(quicken, enliven) the first note, to make the ornament crisp and light. It should sound like “<strong>Tick</strong>le my toes!” and not “before the <strong>beat</strong>“.</p> <p>EXAMPLE 8 Short Trill</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png"><img data-attachment-id="3411" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-08/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png" data-orig-size="1364,200" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 08" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3411" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png" alt="" width="440" height="65" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png?w=440&h=65 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png?w=880&h=130 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png?w=150&h=22 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png?w=300&h=44 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-08-1.png?w=768&h=113 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h3>Short Trills in Mozart</h3> <p>Practise this until you can fire off a whole chain of ‘flying short trills’ as <a href="https://imslp.org/wiki/Nouvelle_m%C3%A9thode_pour_apprendre_%C3%A0_jouer_de_la_harpe_(Genlis,_F%C3%A9licit%C3%A9_de)">Genlis (1802)</a> teaches and Mozart requires. [The link is to the second edition of 1811].</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png"><img data-attachment-id="3380" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/genlis-cadences-jettees/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png" data-orig-size="560,110" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Genlis cadences jettées" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png?w=440" loading="lazy" class="alignnone size-full wp-image-3380" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png" alt="" width="440" height="86" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png?w=440&h=86 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png?w=150&h=29 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png?w=300&h=59 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/genlis-cadences-jettc3a9es.png 560w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>Genlis’ second example (above) is <span style="text-decoration:underline;">not</span> a realisation of the first example, but a preliminary exercise for those ‘flying trills’, at half speed and with extra time between each <em>Figur</em>.</p> <p>As Genlis explains: ‘the two slurred notes are done by sliding the thumb on these two strings’. What I deduce from the third thumb stroke that follows each time (where one might have expected finger 2), is that after the two slurred notes, the sliding thumb comes to rest against the next string (continuing the movement onto the next string helps the slide flow nicely). At this point the exercise takes extra time, to teach you to apply a caesura here, before starting the next <em>Figur</em>. When you do restart, your thumb is already placed on the string you are going to need.</p> <p>For the real thing, the full speed ‘flying trills’, each <em>Figur </em>starts with an upbeat, continuing the pattern of the first two notes. As one would expect from Muffat and others, the trills are on the Good notes – this is confirmed at the end of the sequence.</p> <p>EXAMPLE 9 Genlis/ALK<br /> <a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png"><img data-attachment-id="3413" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-09/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png" data-orig-size="1361,190" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 09" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png?w=440" loading="lazy" class="alignnone size-full wp-image-3413" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png" alt="" width="440" height="61" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png?w=440&h=61 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png?w=874&h=122 874w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png?w=150&h=21 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png?w=300&h=42 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-09.png?w=768&h=107 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Mozart introduces his flying trills with a preliminary longer trill, turned so that its <em>Figur </em>ends on the second (crotchet) beat of the bar. The autograph staccato on this d indicates “Last note short”, allowing you to “Breathe after the one”. The staccato on the following c indicates it is an upbeat, and the <em>Gedanke </em>is now Genlis-style flying trills, each <em>Figur</em> having an upbeat to a Good-note trill.</p> <p>EXAMPLE 10 Mozart/Genlis</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png"><img data-attachment-id="3414" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-10/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png" data-orig-size="1381,306" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 10" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png?w=440" loading="lazy" class="alignnone size-full wp-image-3414" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png" alt="" width="440" height="97" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png?w=440&h=97 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png?w=876&h=194 876w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png?w=150&h=33 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png?w=300&h=66 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-10.png?w=768&h=170 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>This upbeat pattern continues into the next bar, which has rapid Alberti 64 harmonies in the left hand and bold downward leaps in the right (first you must “breathe after the one”), leading to a whole bar Long Trill over the same rapid Alberti pattern, now on the dominant seventh.</p> <p>All these fireworks signal the end of the movement. After this comes the improvised cadenza (Quantz’s <em>Easy and Fundamental Instructions</em> show how 2 players can improvise together) and final tutti.</p> <p> </p> <h3>Short Trills in Handel</h3> <p>There is a tricky short trill on a dotted note in the Handel <em>Concerto. </em>Although it is difficult to execute this correctly in the time available, it should start with upper auxiliary (not the main note) <span style="text-decoration:underline;">on</span> the beat (not before), so that the complete <em>Figur </em>has the crisp sound of a demanding publisher: “Prrrint today!” [the rolled r represents the repercussions of the trill] and not a lazy: “What about next week?”.</p> <p> </p> <p>EXAMPLE 11 Handel</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png"><img data-attachment-id="3415" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-11/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png" data-orig-size="1393,539" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 11" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png?w=440" loading="lazy" class="alignnone size-full wp-image-3415" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png" alt="" width="440" height="170" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png?w=440&h=170 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png?w=880&h=340 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png?w=150&h=58 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png?w=300&h=116 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-11.png?w=768&h=297 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <blockquote><p> </p> <p>How should I damp?</p></blockquote> <p>This is a harp-specific question, and is discussed in several period Harp treatises, but with insufficient detail. The suggestions below are based on my personal experience.</p> <p>For modern harpists, you might first consider threading a strip of felt through the very lowest strings – you don’t actually play these in Baroque pieces, and it might be better to lose the excessive resonance that they add.</p> <p>Second, learn the Baroque way to damp by having your finger (and/or thumb) return to the string after playing (same finger, same string). This allows you to damp specific notes really quickly, rather than moving both hands to cuddle the strings and damp the whole instrument, which is very slow. You can damp individual notes or entire chords, in either hand.</p> <p>Sometimes you can add rhythmic energy by damping where a rest is written on the beat. Damp crisply, precisely on the beat, even get some percussive noise from your fingers contacting the sounding strings.</p> <p> </p> <p>EXAMPLE 12 Handel</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png"><img data-attachment-id="3417" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-12/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png" data-orig-size="1386,278" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 12" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3417" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png" alt="" width="440" height="88" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png?w=440&h=88 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png?w=877&h=176 877w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png?w=150&h=30 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png?w=300&h=60 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-12-1.png?w=768&h=154 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Sometimes you need to damp to control bass resonance. If you damp between each note and the next, you produce a staccato effect: this would not be the optimum phrasing for movement by step.</p> <p>But if you play, play the next note and then quickly damp the previous one, you produce a strong effect of legato.</p> <p>You can mix these two ways to damp [legato, staccato] in order to create legato pairs, each pair separated from the next. This long-short sound is appropriate for Good/Bad.</p> <p>EXAMPLE 13 Handel</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png"><img data-attachment-id="3418" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-13/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png" data-orig-size="1382,509" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 13" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png?w=440" loading="lazy" class="alignnone size-full wp-image-3418" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png" alt="" width="440" height="162" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png?w=440&h=162 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png?w=880&h=324 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png?w=150&h=55 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png?w=300&h=110 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-13.png?w=768&h=283 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>The last note of any phrase could be damped, to make it short. If you play it without accent (as you nearly always should), the damping will be less abrupt, and might not even be necessary.</p> <p>Any upbeat could be damped to create a “silence of articulation”, this throws the accent onto the <span style="text-decoration:underline;">next</span> note.</p> <p>Often you will need to damp to clarify a rising melody in the bass. This frequently applies at perfect cadences, if the dominant rises to the tonic; but it can also occur at the beginning of the phrase.</p> <p>The bass cadence with an octave leap on the dominant implies staccati for that octave leap.</p> <p>In every instance, you can adjust the damping [legato or staccato, and how much] to produce the most appropriate phrasing.</p> <p>EXAMPLE 14 Handel</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png"><img data-attachment-id="3419" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-14/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png" data-orig-size="1378,514" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 14" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png?w=440" loading="lazy" class="alignnone size-full wp-image-3419" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png" alt="" width="440" height="164" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png?w=440&h=164 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png?w=880&h=328 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png?w=150&h=56 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png?w=300&h=112 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-14.png?w=768&h=286 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>Combining all these techniques results in a <span style="text-decoration:underline;">LOT</span> of damping, subtly adjusted, for various desired results. Such frequent damping is supported by the (limited) historical information available. The greater resonance of the modern instrument makes damping even more necessary than on baroque harp.</p> <p>Damping with the left hand can establish the “groove” of a dance, or a dance-like movement. In the third movement of the Handel <em>Concerto</em>, the groove is the reverse triple metre, short-long, quaver-crotchet. You can make this energetic and clear by playing the downbeat strong and damping crisply, to produce a repeating groove effect that sounds like the words “Short Phrases”.</p> <p>Notice how the semiquavers create a <em>Figur </em>across the bar-line, “breathe after the one”: both hands have a short note in the long space of the downbeat, but for different reasons.</p> <p>EXAMPLE 15 Handel</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png"><img data-attachment-id="3420" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-15/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png" data-orig-size="1390,274" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 15" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png?w=440" loading="lazy" class="alignnone size-full wp-image-3420" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png" alt="" width="440" height="87" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png?w=440&h=87 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png?w=880&h=174 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png?w=150&h=30 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png?w=300&h=59 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-15.png?w=768&h=151 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>All this takes practice. You need to train your ears and hands simultaneously, to hear the need for, and effect of damping, and to create the effects you want.</p> <blockquote><p> </p> <p>How to simplify Ornaments?</p></blockquote> <p>Period sources recognise that it is harder to play trills on harp, than on harpsichord. It’s even harder on modern harp than on baroque instruments. So it can be a great help to simplify ornaments. Certainly, it is better to simplify the composer’s ornament, than to omit it, to play it wrongly, to play the wrong type of ornament, or (heaven forbid!) to play an ornament without <em>Abzug</em>.</p> <p>In place of a long trill with initial appoggiatura and final turn, you can make things easier for yourself with these three steps (in this order of application):</p> <ol> <li>Reduce the number of reiterations of the trill.</li> <li>Omit the final turn</li> <li>Omit the initial appoggiatura</li> </ol> <p>If you needed to apply all three three steps, you will be left with a Short Trill, and you should have practised this sufficiently to be confident in it for any eventuality.</p> <p>If you are really under pressure, you can convert a turned Trill into a simple Turn (upper auxilary, main-note, lower-auxiliary, main-note). Make the first (upper) note long and remember the <em>Abzug.</em></p> <p>It’s not so good to change a Short Trill into a simple Appoggiatura, because the Short Trill is meant to sound lively and brilliant, whereas the Appoggiatura should melt, languishing. A Turn could be a better solution: there are still four notes to play, but the fingers can manage them faster. For a fast Turn, try 1231, which should come out crisper than 1232.</p> <blockquote><p> </p> <p>How does Continuo-experience help one’s Solo-playing?</p></blockquote> <p>The great harpsichordists and composers of the baroque were also expert continuo-players: JS and CPE Bach lead the way!</p> <p>The best way to progress rapidly as a harpist or keyboard-player studying baroque repertoire is first to acquire basic continuo skills. Playing in ensembles will inform your ears and mind, with the opportunity to hear the same fundamental principles applied in subtly different ways by different instruments and voices. Ensemble-playing also provides an energetic group dynamic and a supportive social group, and gives access to exciting large-scale projects. Don’t miss the chance to play in a baroque opera or orchestra.</p> <p>As a continuo-player, you can adjust realisation to your (gradually increasing) level of skill, contributing something useful right from the start, without needing to be exposed as a soloist until you are ready.</p> <p>For harpists, a single-action harp is likely to be accepted by HIP training-ensembles, even in 17th-century repertoire, and for a modern player presents less of a barrier to immediate gratification: double and triple harps are more challenging. It is to be hoped that an open-minded training ensemble would admit a keen student even on modern harp, either as a stepping stone towards baroque harp, or as a way to gather experience for solo-playing on the modern instrument.</p> <p>The experience of playing continuo will transform your view of the role of your left hand. And the continuo-player’s view of ensemble music, from the bottom upwards, is the best approach to baroque solo-playing.</p> <p>Familiarity with figured and un-figured basses will consolidate your understanding of baroque harmony, and help you recognise the character of dissonances and sequences: the excitement of rising 5 6, the subtleties 6 5 and 5b dissonances, the sweet melancholy of chains of 7s.</p> <p>EXAMPLE 16 Handel</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png"><img data-attachment-id="3421" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/faqs-16/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png" data-orig-size="1458,841" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="FAQs 16" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png?w=440" loading="lazy" class="alignnone size-full wp-image-3421" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png" alt="" width="440" height="254" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png?w=440&h=254 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png?w=880&h=508 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png?w=150&h=87 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png?w=300&h=173 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/faqs-16.png?w=768&h=443 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <blockquote><p>How can I give my performance more clarity and more character?</p></blockquote> <p>See above: Tactus, Good/Bad, Join/Separate.</p> <p>For harpists: damping. For modern harpists, a basic position somewhat <em>près de la table</em>: for baroque harps, this position is standard.</p> <p>For anyone: “Long notes long, short notes short”, and “Last note short, no-accent”. Ornaments <span style="text-decoration:underline;">on</span> the beat. Contrast one <em>Figur </em>with the next.</p> <blockquote><p> </p> <p>How can I make my performance more expressive?</p></blockquote> <p>See above. Sensitise yourself to the flavour of each dissonance, and show the tension-release of each dissonance-resolution.</p> <p>For harpists, move your fingers down, even more <em>près de la table</em>, for a dissonance, and up (higher than normal) for resolution. A basic position somewhat <em>près de la table </em>results in small changes down or up making a big difference to tone-colour.</p> <p>Apply <em>Abzug </em>to appoggiaturas. Search for the particular character of each <em>Figur</em>.</p> <blockquote><p> </p> <p>Should I play marked Repeats?</p></blockquote> <p>Yes.</p> <p> </p> <blockquote><p>Should I add Rallentando?</p></blockquote> <p>No.</p> <p>Muffat and Leopold Mozart clearly state that the same tempo should be maintained from beginning to end. There <span style="text-decoration:underline;">is</span> historical evidence for rallentando, but not in dance-music, and perhaps only when it is specifically notated. It tends to occur where the note values get smaller and smaller at the end of a section; or where there is a final cadence after a silence (e.g. Hallelujah Chorus). Meanwhile, Leopold says simply, keep exactly the same tempo from beginning to end.</p> <p>Remember, “what everyone does today” and “my favourite CD” are <strong>NOT</strong> historical evidence. Leopold Mozart is.</p> <p>If you are keen to add rallentando, find a source to support your wish. [Student challenge!] But… also beware of the temptation to look into the sources to support a decision you have already taken. A better strategy is to read the sources with an open-mind, and then decide. If you read the whole of Leopold Mozart, you will have plenty to think about and apply, before you need to go looking for another source in order to explore exceptional cases and outlier opinions.</p> <p> </p> <h2>Summary</h2> <p>18th-century style calls for a enormous amount of short-term detail, many contrasted <em>Figuren,</em> many presentations of dissonance-resolution, and many, many <em>Abzüge</em>. All the while, you maintain the groove of steady Tactus in the bass.</p> <p>Harpists: see my article on <a href="https://andrewlawrenceking.com/2013/09/19/single-action-harp-making-sensibility-of-the-methodes/"><em>Empfindsamkeit</em> and Single Action harp</a>.</p> <p>Historically Informed Performance is not what I say, not what Early Musicians do today, not what you hear on CDs, but performance <strong>based on historical information</strong>. Use IMSLP to get original scores, and use the mighty <em>Ver</em><em>such </em>publications as reference books to answer your performance practice questions. Harpists: read Meyer, Cousineau and (for elite soloist-level skills) Genlis.</p> <p>Try to establish a habit of <span style="text-decoration:underline;">checking</span> what you are told (including what you have read here!), and checking your own assumptions. The state of knowlege advances when someone has the courage to question the status quo.</p> <p>Dare to be different!</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/bach-the-masters-voice.png"><img data-attachment-id="3394" data-permalink="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/bach-the-masters-voice/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/bach-the-masters-voice.png" data-orig-size="365,163" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Bach The masters voice" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/bach-the-masters-voice.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/bach-the-masters-voice.png?w=365" loading="lazy" class="alignnone size-full wp-image-3394" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/bach-the-masters-voice.png" alt="" width="365" height="163" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/bach-the-masters-voice.png 365w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/bach-the-masters-voice.png?w=150&h=67 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/bach-the-masters-voice.png?w=300&h=134 300w" sizes="(max-width: 365px) 100vw, 365px" /></a></p> <p> </p> <p> </p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3350" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3350" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/06/11/baroque-faqs-for-modern-musicians/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Baroque%20FAQs%20for%20Modern%20Musicians&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F06%2F11%2Fbaroque-faqs-for-modern-musicians%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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rel="bookmark" class="permalink"><span class="month upper">Jun</span><span class="sep">·</span><span class="day lower">11</span></a></p> </footer> </article> <article id="post-3267" class="post-3267 post type-post status-publish format-standard hentry category-continuo category-early-harps category-historical-action category-history-of-emotions category-irish-harp category-moving-the-passions category-music-dance-swordsmanship category-rhetoric category-text tag-baroque tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-continuo tag-early-harp tag-early-opera tag-harp tag-muovere-gli-affetti tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/" rel="bookmark">To beguile, or not to beguile: Purcell’s ‘Music for a while’</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/#comments">8</a></p> </header> <div class="entry-content"> <p><em>Music for a while </em>is one of Purcell’s best-known and most loved songs, published posthumously in <a href="https://imslp.org/wiki/Orpheus_Britannicus_(Purcell%2C_Henry)">Orpheus Britannicus</a>, Book 2 (1702). <a href="https://youtu.be/ZRqeKbdaz80">Listen here</a>.</p> <p>The tortured chromaticism of the ground bass and dark references to Alecto, the Fury from Hell with snakes for hair and a whip in her hand. indicate that there is more here than just a pretty melody. So it comes as no surprise to discover that the song was written for a revival in 1692 of Dryden & Lee’s 1679 Tragedy <em>Oedipus</em>, loosely based on Sophocles.</p> <p>But what was the function of this music in the play? What is happening on stage ‘for a while’? And what happens <span style="text-decoration:underline;">next</span>, when Music can no longer ‘beguile’? Whose ‘cares’ and ‘pains were eas’d’? The clue is that Alecto should indeed ‘free the dead from their eternal bands’.</p> <p>At the time of writing, the best secondary sources freely available online were a couple of GCSE commentaries, which fail to address these questions and mislead on the placement of the song within the play, as well as by hinting that Alecto might even be a character in the drama. She is not, but the mythological reference to her is utterly appropriate for the dramatic situation.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg"><img data-attachment-id="3274" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/purgatory/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg" data-orig-size="608,342" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Purgatory" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3274" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg" alt="" width="440" height="248" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=440&h=248 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=150&h=84 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=300&h=169 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg 608w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>A dark Grove</h2> <p>Fortunately, a primary source is only a click away. The library of the University of Michigan has made the <a href="https://quod.lib.umich.edu/e/eebo/A36657.0001.001?view=toc">full play-script of <em>Oedipus</em></a>, including the song-text (divided amongst several singers), available free online.</p> <p>Purcell’s <em>Music </em>was composed for Act III, set in <em>a</em><em> dark Grove.</em></p> <p> </p> <p><em><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg"><img data-attachment-id="3277" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/grotto-salvator-rosa/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg" data-orig-size="900,1199" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Grotto Salvator Rosa" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=225" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3277" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg" alt="" width="440" height="586" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=440&h=586 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=880&h=1172 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=113&h=150 113w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=225&h=300 225w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=768&h=1023 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></em></p> <p> </p> <p>Following an argument and sword-duel between Creon and Adrastus, Haemon sets the scene:</p> <p style="padding-left:40px;">Nor Tree, nor Plant</p> <p style="padding-left:40px;">Grows here, but what is fed with Magick Juice,</p> <p style="padding-left:40px;">All full of humane Souls; that cleave their barks</p> <p style="padding-left:40px;">To dance at Midnight by the Moons pale beams:</p> <p style="padding-left:40px;">At least two hundred years these reverened Shades</p> <p style="padding-left:40px;">Have known no blood, but of black Sheep and Oxen,</p> <p style="padding-left:40px;">Shed by the Priests own hand to <em>Proserpine.</em></p> <p><em> </em></p> <p>The blind prophet Tiresias enters with a group of aged Priests, all clothed in black habits. In rites “<em>full of horrour</em>” Tiresias invokes the ghost of Lajus (Oedipus’ father) to declare who it was who murdered him. A trench is dug near Lajus’ grave and a black, barren heifer is sacrificed. Blood and milk are boiled together.</p> <p style="padding-left:40px;">And now a sudden darkness covers all,</p> <p style="padding-left:40px;">True genuine Night: Night added to the Groves;</p> <p style="padding-left:40px;">The Fogs are blown full in the face of Heav’n.”</p> <p>Tiresias calls for “<em>such sounds as Hell ne’re heard / Since </em>Orpheus <em>brib’d the Shades</em>” and the Priests’ first song evokes tormenting demons:</p> <p> </p> <p style="padding-left:40px;">Taskers of the dead,</p> <p style="padding-left:40px;">You that boiling Cauldrons blow,</p> <p style="padding-left:40px;">You that scum the molten Lead.</p> <p style="padding-left:40px;">You that pinch with Red-hot Tongs;</p> <p style="padding-left:40px;">You that drive the trembling hosts</p> <p style="padding-left:40px;">Of poor, poor Ghosts,</p> <p style="padding-left:40px;">With your Sharpen’d Prongs;</p> <p><em>Music for a While</em> itself is addressed to the rising ghosts, who are then ordered to “<em>Come away… obey, while we play</em>”. Sure enough, in a flash of lightning, ‘<em>Ghosts are seen passing betwixt the trees</em>‘.</p> <p>The Priests and Tiresias call on Lajus to “<em>hear and obey</em>”, and ‘<em>The Ghost of Lajus rises arm’d in his Chariot, as he was slain. And behind his Chariot sit the three who were murdered with him.</em>’ Lajus refers to his “<em>pains</em>” in hell (recalling the line from the song, ‘<em>wondering how your pains were eas’d</em>”), and accuses Oedipus of parricide.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg"><img data-attachment-id="3270" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/lajus/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg" data-orig-size="637,628" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Lajus" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=440" loading="lazy" class="alignnone size-full wp-image-3270" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg" alt="" width="440" height="434" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=440&h=434 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=150&h=148 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=300&h=296 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg 637w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The Ghost descends, as Oedipus enters asking “<em>tell me why My hair stands bristling up, why my flesh trembles.</em>”</p> <p> </p> <h2>To beguile, or not to beguile</h2> <p> </p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg"><img data-attachment-id="3280" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/hamlet-garrick/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg" data-orig-size="512,550" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Hamlet Garrick" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=279" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3280" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg" alt="" width="440" height="473" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=440&h=473 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=140&h=150 140w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=279&h=300 279w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg 512w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In this play and in this scene, there are many parallels to Shakespeare’s <em>Hamlet </em>(c1600). Dryden’s introduction make it clear that public taste insisted upon a Ghost and a Murder, and <em>Oedipus</em> was a great success.</p> <p>In <a href="https://www.press.umich.edu/7827/players_passion"><em>The Player’s Passion </em></a>(1985) published by the same University of Michigan whose library makes Dryden’s play available online, Joseph Roach describes Shakespeare’s ‘most celebrated scene played by the greatest actor of his time, perhaps of all time’:</p> <p style="padding-left:40px;">The name of Perkins, hair-dresser and wig-maker, enters into the history of the eighteenth-century stage on the strength of a technical contribution to David Garrick’s Hamlet… When other spectators marvelled that Hamlet’s hair actually seemed to stand on end as the ghost appeared, they testified to a fact. The ingenious Perkins had engineered a mechanical wig to simulate the precise physiognomy of mortal dread. On the line “Look, my lord, it comes”, the hairs of this remarkable appliance rose up obligingly at the actor’s command.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg"><img data-attachment-id="3281" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/garrick-hair/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg" data-orig-size="314,461" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Garrick hair" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg?w=204" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg?w=314" loading="lazy" class="alignnone size-full wp-image-3281" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg" alt="" width="314" height="461" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg 314w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg?w=102&h=150 102w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg?w=204&h=300 204w" sizes="(max-width: 314px) 100vw, 314px" /></a></p> <p> </p> <p>In Purcell’s semi-operas and incidental music for plays, incantation scenes are often the excuse for songs, and ‘priests’ with few or no spoken lines are brought on stage to do the singing. The first scene of <em>King Arthur </em>is a good example: “<em>Woden, first to thee a milk-white steed in battle won, we have sacrificed</em>“. And like the Ghost of Lajus, the Cold Genius similarly comes “<em>from below</em>“, is made to “<em>rise, unwillingly and slow’ </em>in chromatic harmonies, and then allowed to “<em>freeze again to death</em>“.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png"><img data-attachment-id="1888" data-permalink="https://andrewlawrenceking.com/2017/08/31/emotions-in-early-opera/the-four-humours/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png" data-orig-size="480,360" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="The Four Humours" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=440" loading="lazy" class="alignnone size-full wp-image-1888" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png" alt="" width="440" height="330" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=440&h=330 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=150&h=113 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=300&h=225 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png 480w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>The power of music to ‘beguile’ cares and ‘soothe the savage breast’ is part of the historical Science of the Four Humours. Music is Sanguine: the live-giving flow of warm blood, open-handed and generously offering love, courage and hope. Music frees us from the cold, dry grip of Melancholy cares and pains.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg"><img data-attachment-id="2532" data-permalink="https://andrewlawrenceking.com/2019/09/24/the-ministers-conditions-in-monteverdis-orfeo/violinist-with-wine-glass/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg" data-orig-size="600,735" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="violinist with wine glass" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=245" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-2532" src="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg" alt="" width="440" height="539" srcset="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=440&h=539 440w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=122&h=150 122w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=245&h=300 245w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg 600w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>At least, for a while…</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg"><img data-attachment-id="3272" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/oedipus-dryden-and-lee/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg" data-orig-size="220,302" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Oedipus Dryden and Lee" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg?w=219" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg?w=220" loading="lazy" class="alignnone size-full wp-image-3272" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg" alt="" width="220" height="302" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg 220w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg?w=109&h=150 109w" sizes="(max-width: 220px) 100vw, 220px" /></a></p> <p><a href="https://youtu.be/ZRqeKbdaz80">Listen here.</a></p> <p> </p> <p> </p> <p> </p> <p> </p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3267" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3267" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20To%20beguile%2C%20or%20not%20to%20beguile%3A%20Purcell%27s%20%27Music%20for%20a%20while%27&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F06%2F03%2Fmusic-for-a-while%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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><span>Twitter</span></a></li><li class="share-end"></li></ul></div></div></div></div></div><div class='sharedaddy sd-block sd-like jetpack-likes-widget-wrapper jetpack-likes-widget-unloaded' id='like-post-wrapper-56032818-3267-6748698f41dc0' data-src='//widgets.wp.com/likes/index.html?ver=20241128#blog_id=56032818&post_id=3267&origin=andrewlawrenceking.wordpress.com&obj_id=56032818-3267-6748698f41dc0&domain=andrewlawrenceking.com' data-name='like-post-frame-56032818-3267-6748698f41dc0' data-title='Like or Reblog'><div class='likes-widget-placeholder post-likes-widget-placeholder' style='height: 55px;'><span class='button'><span>Like</span></span> <span class='loading'>Loading...</span></div><span class='sd-text-color'></span><a class='sd-link-color'></a></div></div> </div> <footer class="entry-meta"> <p class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/continuo/" rel="category tag">Continuo</a>, <a href="https://andrewlawrenceking.com/category/early-harps/" rel="category tag">Early Harps</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/early-harps/irish-harp/" rel="category tag">Irish harp</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-dance-swordsmanship/" rel="category tag">Music, Dance & Swordsmanship</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/text/" rel="category tag">Text</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-gesture/" rel="tag">Baroque Gesture</a>, <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/baroque-opera/" rel="tag">Baroque Opera</a>, <a href="https://andrewlawrenceking.com/tag/continuo/" rel="tag">Continuo</a>, <a href="https://andrewlawrenceking.com/tag/early-harp/" rel="tag">Early Harp</a>, <a href="https://andrewlawrenceking.com/tag/early-opera/" rel="tag">Early Opera</a>, <a href="https://andrewlawrenceking.com/tag/harp/" rel="tag">Harp</a>, <a href="https://andrewlawrenceking.com/tag/muovere-gli-affetti/" rel="tag">muovere gli affetti</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/" title="Permalink to To beguile, or not to beguile: Purcell’s ‘Music for a while’" rel="bookmark" class="permalink"><span class="month upper">Jun</span><span class="sep">·</span><span class="day lower">03</span></a></p> </footer> </article> <article id="post-3127" class="post-3127 post type-post status-publish format-standard hentry category-early-harps category-history-of-emotions category-introductions category-moving-the-passions category-music-and-philosophy category-rhetoric category-rhythm category-single-action-harp category-text category-triple-harp tag-18th-century tag-art tag-baroque tag-baroque-music tag-cpe-bach tag-early-harp tag-early-music tag-emotions tag-expression tag-harp tag-hip tag-history-of-emotions tag-mozart tag-muovere-gli-affetti tag-ornamentation tag-phrasing tag-rhythm tag-single-action-harp tag-tactus tag-text tag-triple-harp"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/" rel="bookmark">A la recherche du TEMPO perdu: principles and practice in Baroque music</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/#comments">3</a></p> </header> <div class="entry-content"> <p>This article is the mid-term review from a course about <em>Early Music on Modern Harp </em>that I’m teaching for the Guildhall School of Music & Drama, London. And as a general introduction, it could be relevant for any student of 18th-century music. Our case-studies are movements by J.S. Bach, Handel, C.P.E. Bach, Pescetti and Mozart.</p> <p>The previous article in this series looked at <a href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/">online source materials and the significance of <em>tempo</em></a><em> </em>as more than just ‘musical speed’. In baroque music, <em>tempo </em>is rather the emotional quality of music, produced by the act of beating Tactus for a particular note-value.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/english-harpist-18th-cent.jpg"><img data-attachment-id="3159" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/english-harpist-18th-cent/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/english-harpist-18th-cent.jpg" data-orig-size="427,530" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="English harpist 18th cent" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/english-harpist-18th-cent.jpg?w=242" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/english-harpist-18th-cent.jpg?w=427" loading="lazy" class="alignnone size-full wp-image-3159" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/english-harpist-18th-cent.jpg" alt="" width="427" height="530" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/english-harpist-18th-cent.jpg 427w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/english-harpist-18th-cent.jpg?w=121&h=150 121w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/english-harpist-18th-cent.jpg?w=242&h=300 242w" sizes="(max-width: 427px) 100vw, 427px" /></a></p> <h2></h2> <h2>Principles</h2> <p> </p> <p> </p> <h3><em>“Versuch über die wahre Art”</em></h3> <p> </p> <p>Historically Informed Performance is not a matter of personal interpretation. There is a true way, that we attempt to find. That way changes according to period and culture/language.</p> <p>Before 1800, Art is not the ‘freedom of the artistic genius’, but rather a set of organising principles. Within those principles, there is space for individuals to make personal choices.</p> <p>We know what is correct, not by imitating CDs or listening to modern-day Early Music gurus, but by finding a broad consensus amongst relevant historical sources.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png"><img data-attachment-id="3112" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/cpe-bach-versuch-title-page/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png" data-orig-size="605,856" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="CPE Bach Versuch title page" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=212" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=440" loading="lazy" class="alignnone size-full wp-image-3112" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png" alt="" width="440" height="623" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=440&h=623 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=106&h=150 106w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=212&h=300 212w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png 605w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <h3>Historically Informed?</h3> <p>Probably, an original source of the music will be accessible and legible. But compared to a modern edition, some information will be “missing”. We supply that information from historical treatises.</p> <p>Yes, a 19th, 20th or 21st century edition will give more information, but how <strong>reliable</strong> is that information? Fortunately, we can check for ourselves: usually easily, free and online.</p> <p>For example: circa 1750, we need an indication of speed. We reframe the question in terms of historical Tactus: “Which note-value goes with the beat in Allegro, and in Adagio?”. And – approximately – how fast is that beat?” The answers are in Quantz, whose ‘pulse’ is around 80 beats per minute. See <a href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/">Tactus, Tempo & Affekt</a>.</p> <h3></h3> <h3>“Time is the Soul of Music.”</h3> <p>We count with a Tactus pulse, around 60 (1630s) to 80 (1750s). But during this same period, the feeling was that music had become slower, with some up-tempo markings like 6/8 being played slower, and with more feeling (<em>Empfindsamkeit</em>), according to Mattheson. Quantz gives new information about which note-value goes with the pulse, according to the tempo-words.</p> <p>The physical feeliing of beating Tactus is linked to the emotional feeling of the quality of the music: if you haven’t studied your music whilst beating Tactus, you have missed a vital insight into its emotional quality.</p> <p><a href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/">Read Time: the Soul of Music</a></p> <p><a href="https://andrewlawrenceking.com/2018/01/28/the-practice-of-tactus-owners-workshop-manual/">The Practice of Tactus </a></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg"><img data-attachment-id="1932" data-permalink="https://andrewlawrenceking.com/2018/01/28/the-practice-of-tactus-owners-workshop-manual/tactus-boy-with-flute-hals/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg" data-orig-size="4000,5053" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus boy with flute Hals" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg?w=237" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-1932" src="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg" alt="" width="440" height="556" srcset="https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg?w=440&h=556 440w, https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg?w=880&h=1112 880w, https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg?w=119&h=150 119w, https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg?w=237&h=300 237w, https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg?w=768&h=970 768w, https://andrewlawrenceking.com/wp-content/uploads/2018/01/tactus-boy-with-flute-hals.jpg?w=811&h=1024 811w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h3>Fingering ~ Language</h3> <p>Bowing (for violins, viols etc), tonguing (flutes, oboes etc) and <strong>fingering</strong> (keyboards, harp, lute etc) mimick Good/Bad syllables, or (later) the joining/separating of syllables into sense groups, say 2-5 notes at a time (perhaps even a few more, if there is continuous fast stepwise movement, i.e. a scale). We could call this the ‘mini-phrase’.</p> <p> </p> <h3>Polyphony</h3> <p>Harmony is the result of weaving together the strands of individual polyphonic ‘voices’. In how many ‘voices’ is your piece written? How strictly is this maintained?</p> <p> </p> <h2>Practice</h2> <p> </p> <p>From a post-modern perspective we can see that whereas mainstream performance looks for consistency and evenness, baroque music is all about <strong>contrast</strong>. That contrast can be on the short-term level, note-by-note. It’s all held together by stable rhythm at the Tactus level. Inside the regular Tactus, there can be (carefully organised) irregularity in shorter note-values.</p> <p> </p> <h3>Good & Bad</h3> <p> </p> <p>Good & Bad syllables in the language are set to Good/Bad notes in music, and played with Good/Bad fingers (bowing or tonguing). See <a href="https://andrewlawrenceking.com/2013/09/22/the-good-the-bad-the-early-music-phrase/">Good, Bad & the Early Music Phrase</a>.</p> <p>We can use Quantz’s flute-tonguing syllables, e.g. <em>didll-di</em>, to sing the phrases of the piece we are studying. This helps us use our subconscious awareness of language rules to decide questions of fingering.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png"><img data-attachment-id="3130" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/quantz-didll-di/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png" data-orig-size="680,807" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Quantz Didll Di" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png?w=253" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png?w=440" loading="lazy" class="alignnone size-full wp-image-3130" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png" alt="" width="440" height="522" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png?w=440&h=522 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png?w=126&h=150 126w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png?w=253&h=300 253w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-didll-di.png 680w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h3>Integrate</h3> <p>We have to integrate each element of contrast with the steady beat of the Tactus.</p> <ol> <li>Find the Tactus/note-value connection for the movement at hand.</li> <li>Take a few notes and consider Good/Bad (also known as Long/Short)</li> <li>Play Good/Bad with Tactus</li> </ol> <p> </p> <h3>The ‘mini-phrase’</h3> <p>In later music, there is the idea of <em>moto perpetuo</em> – remember <em>The Flight of the Bumble Bee</em>? And frequently, mainstream performance looks for the longest possible phrase without breathing in-between.</p> <p>For Early Music, it’s better to think the opposite way. What is the <strong>shortest</strong> possible sense-group? This is the ‘mini-phrase’, or in HIP-speak <em>Figure</em>. Try singing, but NOT with <em>da da da</em>. Use Frank Sinatra <em>dooby-doo</em>, or Quantz <em>diddle-dee</em>, so that you apply Good/Bad syllables: <span style="text-decoration:underline;">not</span> every note the same!.</p> <p>You may find that notes written in equal note-values become quite <span style="text-decoration:underline;">dissimilar</span>, in order to stay with the Tactus. In order to maintain the Tactus, <strong>the last note needs to be short and light</strong>.</p> <p>Once a pattern is established in the first mini-phrase, preserve that pattern. If something happens to change the pattern, change and try to preserve the new pattern.</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3132" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png"><img aria-describedby="caption-attachment-3132" data-attachment-id="3132" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/miniphrase-jsb/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png" data-orig-size="1314,426" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Miniphrase JSB" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png?w=440" loading="lazy" class="wp-image-3132 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png" alt="" width="440" height="143" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png?w=440&h=143 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png?w=880&h=286 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png?w=150&h=49 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png?w=300&h=97 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-jsb.png?w=768&h=249 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3132" class="wp-caption-text">Mini-phrases in JS Bach “Prelude”</p></div></p> <p> </p> <p><div data-shortcode="caption" id="attachment_3139" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png"><img aria-describedby="caption-attachment-3139" data-attachment-id="3139" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/miniphrase-gfh/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png" data-orig-size="1447,584" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Miniphrase GFH" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png?w=440" loading="lazy" class="wp-image-3139 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png" alt="" width="440" height="178" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png?w=440&h=178 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png?w=880&h=356 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png?w=150&h=61 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png?w=300&h=121 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-gfh-1.png?w=768&h=310 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3139" class="wp-caption-text">Miniphrases in Handel “Concerto”</p></div></p> <p> </p> <p><div data-shortcode="caption" id="attachment_3135" style="width: 211px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-cpe.jpg"><img aria-describedby="caption-attachment-3135" data-attachment-id="3135" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/miniphrase-cpe/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-cpe.jpg" data-orig-size="201,111" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Miniphrase CPE" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-cpe.jpg?w=201" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-cpe.jpg?w=201" loading="lazy" class="wp-image-3135 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-cpe.jpg" alt="" width="201" height="111" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-cpe.jpg 201w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-cpe.jpg?w=150&h=83 150w" sizes="(max-width: 201px) 100vw, 201px" /></a><p id="caption-attachment-3135" class="wp-caption-text">Miniphrases are notated in CPE Bach “Sonata”, and implied (red slur) by instructions for performing ornaments in his “Versuch”.</p></div></p> <p> </p> <h3></h3> <h3></h3> <h3>Join/Separate</h3> <p>Notes that move <strong>by step</strong> tend to be more <em>legato</em>, perhaps <strong>joined</strong> within the mini-phrase. Notes that <strong>jump</strong> tend to be more <em>staccato</em>, perhaps indicating the <strong>separation</strong> between one mini-phrase and the next.</p> <p>The break or breath between phrases is often ‘after the 1’.</p> <p>Late 18th-centuring bowing, tonguing and (harp or keyboard) fingering often joins together the notes of a mini-phrase.</p> <h3></h3> <p><div data-shortcode="caption" id="attachment_3141" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png"><img aria-describedby="caption-attachment-3141" data-attachment-id="3141" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/miniphrase-pescetti/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png" data-orig-size="547,120" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Miniphrase Pescetti" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png?w=440" loading="lazy" class="wp-image-3141 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png" alt="" width="440" height="97" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png?w=440&h=97 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png?w=150&h=33 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png?w=300&h=66 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/miniphrase-pescetti.png 547w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3141" class="wp-caption-text">Miniphrases, staccato & legato, repeating pattern A & contrast B, in Pescetti “Sonata VI”</p></div></p> <p> </p> <h3></h3> <h3></h3> <h3></h3> <h3>Breaks & Breaths</h3> <p>The mini-phrase might be very short, so that you don’t necessarily breathe at every break. Imagine yourself speaking, powerfully and slowly, to a large audience in a grand hall with a big acoustic:</p> <p>“You would… break up…. the words… into short…. sense-groups. [BREATH] But you might not…. actually breathe…. at every break.”</p> <p>For the piece of music at hand, test your ideas about where to breathe, by singing with Good/Bad syllables, Tactus, and <span style="text-decoration:underline;">real</span> breaths (actually taking in oxygen). You will probably find it’s too much to breathe at <span style="text-decoration:underline;">every</span> mini-phrase. Experiment… Keep the Tactus! Perhaps 2 or 3 mini-phrases go to a breath.</p> <p>Remember the goal is contrast, not homogeneity. So we can allow a pattern to develop where there is a consistent irregularity of note-lengths within each mini-phrase, repeated from one mini-phrase to the next for as long as the pattern persists, with breaths every 2 or 3 mini-phrases… and all unified by steady Tactus.</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3143" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png"><img aria-describedby="caption-attachment-3143" data-attachment-id="3143" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/breath-jsb/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png" data-orig-size="1314,426" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Breath JSB" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png?w=440" loading="lazy" class="wp-image-3143 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png" alt="" width="440" height="143" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png?w=440&h=143 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png?w=880&h=286 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png?w=150&h=49 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png?w=300&h=97 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-jsb.png?w=768&h=249 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3143" class="wp-caption-text">Breath /, every 2 miniphrases in JSB</p></div></p> <p> </p> <p><div data-shortcode="caption" id="attachment_3144" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png"><img aria-describedby="caption-attachment-3144" data-attachment-id="3144" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/breath-gfh/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png" data-orig-size="1447,584" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Breath GFH" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png?w=440" loading="lazy" class="wp-image-3144 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png" alt="" width="440" height="178" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png?w=440&h=178 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png?w=880&h=356 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png?w=150&h=61 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png?w=300&h=121 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-gfh.png?w=768&h=310 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3144" class="wp-caption-text">Breath / every 4 miniphrases A, then every 2 A, then change of pattern B; legato & staccato in GFH</p></div></p> <p> </p> <p><div data-shortcode="caption" id="attachment_3146" style="width: 211px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-cpe.jpg"><img aria-describedby="caption-attachment-3146" data-attachment-id="3146" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/breath-cpe/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-cpe.jpg" data-orig-size="201,111" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Breath CPE" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-cpe.jpg?w=201" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-cpe.jpg?w=201" loading="lazy" class="wp-image-3146 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-cpe.jpg" alt="" width="201" height="111" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-cpe.jpg 201w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-cpe.jpg?w=150&h=83 150w" sizes="(max-width: 201px) 100vw, 201px" /></a><p id="caption-attachment-3146" class="wp-caption-text">Miniphrases, breaths /, and patterning A, in CPE</p></div></p> <p> </p> <p><div data-shortcode="caption" id="attachment_3148" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png"><img aria-describedby="caption-attachment-3148" data-attachment-id="3148" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/breath-pescetti/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png" data-orig-size="547,120" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Breath Pescetti" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png?w=440" loading="lazy" class="wp-image-3148 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png" alt="" width="440" height="97" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png?w=440&h=97 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png?w=150&h=33 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png?w=300&h=66 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/breath-pescetti.png 547w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3148" class="wp-caption-text">Breaths /, in Pescetti</p></div></p> <p> </p> <h3>Dissonance</h3> <p>Just as we learned in Harmony 1.01, there are three elements: Preparation, Dissonance, Resolution. We need to <span style="text-decoration:underline;">perform</span> these three elements: understand them, feel them, communicate them.</p> <p><strong>Preparation</strong>: we bring our attention, and we alert the audience, to a certain note, to one particular polyphonic voice.</p> <p><strong>Dissonance</strong>: ouch! Another voice collides with the prepared note, creating a dissonance.</p> <p>What is the emotional flavour of this particular clash? How intense is it? Sometimes ‘it hurts so good’…</p> <p><strong>Resolution</strong>: relax…. The pain is eased.</p> <p>Chained dissonances: Sometimes the resolution produces another dissonance. How are the two emotional flavours different? Which is more intense?</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3151" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png"><img aria-describedby="caption-attachment-3151" data-attachment-id="3151" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/quantz-dissonances/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png" data-orig-size="1116,638" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Quantz Dissonances" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png?w=440" loading="lazy" class="wp-image-3151 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png" alt="" width="440" height="252" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png?w=440&h=252 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png?w=880&h=504 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png?w=150&h=86 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png?w=300&h=172 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances.png?w=768&h=439 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3151" class="wp-caption-text">Quantz categorises dissonances</p></div></p> <p> </p> <p><div data-shortcode="caption" id="attachment_3153" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png"><img aria-describedby="caption-attachment-3153" data-attachment-id="3153" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/quantz-dissonances-affettuoso/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png" data-orig-size="608,849" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Quantz Dissonances affettuoso" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png?w=215" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png?w=440" loading="lazy" class="wp-image-3153 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png" alt="" width="440" height="614" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png?w=440&h=614 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png?w=107&h=150 107w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png?w=215&h=300 215w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-dissonances-affettuoso.png 608w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3153" class="wp-caption-text">Quantz shows the intensity of dissonances</p></div></p> <p> </p> <p><a href="https://www.esm.rochester.edu/integral/wp-content/uploads/2019/06/INTEGRAL_30_jones.pdf">Read Evan Jones’ article on Quantz’ dissonances.</a></p> <p><a href="http://watermark.silverchair.com/15.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAApEwggKNBgkqhkiG9w0BBwagggJ-MIICegIBADCCAnMGCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMgdHhJi1Xve0dNmr7AgEQgIICRBR0tXLR_f_y-Kc7oUXcr4FHJCKe5UJpg55e28_hrTrRBWnbPb5VrAYSuC9ETE3NWamcpt3A7fBw57UZPyhwsp7b0hJ12gHcmxGskzl2XPk2SyHvDRPsfU9Irnvja8aYQ9wLCUClPZRLLExFcVYIWvSQ5l0wIDS_2VG5OSeAWv4XEQ7ymiZu741PpyxeCbVr7rASlEuQZYsf3hHB3z4pni6dBCwZJLPvO2U61bPklK90QoBKW_0iRkoeHOKYdQ4mi4X626Gg-5hMcQksu0pKey_SjPrqfv2D_zjw2AqU6DgHamfBaAKP8TuifKqYar0nQ-gNhNqwslsXw1YS1mloT-sp5Wvm3MfDLECgzXhZi_xwowzV0yFHULWdRnZT7iPewQ_riyu3KFTwBXUXVJ3en0TnUPoqyMdlfjd0H4M4yYs6pm2dOVcuNKQ8Nsrsw1TfVy3ywYMMvDhx59GIz7PKeJTbPSWisVz5j3-kv4JDHO30jNW6BrziPt75DQGeTlqlpgDjIcr2N2pDLSPFrCKJwhJPYu9eePxAHhCQ7iOU4819nNwxw-bFFd8zxTN6RBd6voriBwM59wsKrZFYh7nP-rElffrkQM6fYQ6wk-BrmelwH4iRdQ4F-SeequBj_mf70ydNnrVrl3IoTpaNiouqhhLeUFThPdzNk4YRvScLqtu0Oqc4FnmvV_JJScrCblR-AHaJNi_RQzWzqOxUcAg8Zu2TerI6DhfyIrQnRhWRhmjNlVniHIgxuTk-ORhCGeZ0aF2Axw0">Read David Ledbetter’s article on Quantz’s <em>Adagio.</em></a></p> <ol> <li>Play through Quantz’s example.</li> <li>Find, and <span style="text-decoration:underline;">taste</span> the dissonances in your piece.</li> </ol> <p> </p> <h2>Quiz</h2> <p>Here (below) is an unreliable edition of perhaps Mozart’s best-known Piano Sonata. It’s good harp-repertoire too.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/k545-bad-edition.png"><img data-attachment-id="3156" data-permalink="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/k545-bad-edition/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/k545-bad-edition.png" data-orig-size="192,263" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="K545 bad edition" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/k545-bad-edition.png?w=192" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/k545-bad-edition.png?w=192" loading="lazy" class="alignnone size-full wp-image-3156" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/k545-bad-edition.png" alt="" width="192" height="263" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/k545-bad-edition.png 192w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/k545-bad-edition.png?w=110&h=150 110w" sizes="(max-width: 192px) 100vw, 192px" /></a></p> <ol> <li>What is the date of composition?</li> <li>And of the first edition?</li> <li>What is the earliest edition available on IMSLP?</li> <li>What is the <span style="text-decoration:underline;">best</span> edition available on IMSP?</li> <li>Why is the autograph MS <span style="text-decoration:underline;">not</span> on IMSLP?</li> <li>What is the <span style="text-decoration:underline;">exact</span> marking for the tempo of the first movement, in Mozart’s own handwriting?</li> <li>What is the time signature in the first edition?</li> <li>What is Quantz’s pulse-tempo recipe for this?</li> </ol> <p>Bonus Question</p> <p style="padding-left:40px;">9. How much mis-information can you find in the bad edition above?</p> <p>All answers are available free online with just couple of clicks. No advanced research techniques are needed for questions 1-7.</p> <p><a href="https://support.google.com/websearch/answer/1325808?co=GENIE.Platform%3DAndroid&hl=en">Hint for Q1,2</a></p> <p><a href="https://en.wikipedia.org/wiki/Piano_Sonata_No._16_(Mozart)#External_links">Hint for Q5, 6, 7</a></p> <p><a href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/">Hint for Q8</a></p> <p> </p> <p><div data-shortcode="caption" id="attachment_3019" style="width: 276px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png"><img aria-describedby="caption-attachment-3019" data-attachment-id="3019" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/sollicitem-cogito/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png" data-orig-size="266,273" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Sollicitem cogito" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png?w=266" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png?w=266" loading="lazy" class="wp-image-3019 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png" alt="" width="266" height="273" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png 266w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png?w=146&h=150 146w" sizes="(max-width: 266px) 100vw, 266px" /></a><p id="caption-attachment-3019" class="wp-caption-text">“Deep Thought” from Bulwer’s (1644) gesture-book</p></div></p> <p> </p> <p> </p> <p> </p> <p> </p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3127" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3127" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20A%20la%20recherche%20du%20TEMPO%20perdu%3A%20principles%20and%20practice%20in%20Baroque%20music&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F05%2F19%2Fa-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/early-harps/" rel="category tag">Early Harps</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/introductions/" rel="category tag">Introductions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-and-philosophy/" rel="category tag">Music and Philosophy</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/category/early-harps/single-action-harp/" rel="category tag">Single Action Harp</a>, <a 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class="date-link"><a href="https://andrewlawrenceking.com/2020/05/19/a-la-recherche-du-tempo-perdu-principles-and-practice-in-baroque-music/" title="Permalink to A la recherche du TEMPO perdu: principles and practice in Baroque music" rel="bookmark" class="permalink"><span class="month upper">May</span><span class="sep">·</span><span class="day lower">19</span></a></p> </footer> </article> <article id="post-3100" class="post-3100 post type-post status-publish format-standard hentry category-early-harps category-history-of-emotions category-introductions category-moving-the-passions category-rhetoric category-rhythm category-single-action-harp category-text category-triple-harp tag-18th-century tag-baroque tag-baroque-music tag-cousineau tag-cpe-bach tag-early-harp tag-early-music tag-expression tag-harp tag-harp-method tag-hip tag-history-of-emotions tag-mozart tag-muovere-gli-affetti tag-rhythm tag-single-action-harp tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/" rel="bookmark">Tactus, Tempo & Affekt: Historical Principles & Online Resources</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/#comments">6</a></p> </header> <div class="entry-content"> <p>Baroque <em>Tempo </em>is a huge subject, bringing together three of the key concepts of Baroque music: the interplay between the notation and performance of rhythm (<strong>Tactus</strong> as it relates to note-values, and as it is shown by the hand); the <strong>speed</strong> of that beat and of the music it regulates; the <strong>emotional quality</strong> of the beat itself (as a physical movement) and of the music that it produces. Even within a narrowly defined period and culture – German music from the time of Johann Sebastian Bach, for example – a thorough survey would be way beyond the scope of a doctoral thesis. And as soon as we shift even to the following generation – CPE Bach and Quantz – there are significant changes to practices and aesthetics. So a 1-hour class and this short summary can only hope to scratch the surface.</p> <p>The challenge is <u>not</u> that we lack sufficient historical information, nor that such questions are unanswerable. Rather, we have <u>so much</u> information that it is daunting to start working through it all. And – even amongst some Early Music performers – there is some reluctance to accept certain hard truths: the period dialectic is of <em>the true way</em>, and not of personal interpretations and free choices. Within a given period and culture, there are some minor differences of opinion between different writers, but the consensus on fundamentals is clear. There is a <em>Wahre Art </em>(true way) and we have to make our best attempt (<em>Versuch</em>) to find it!</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png"><img data-attachment-id="3112" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/cpe-bach-versuch-title-page/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png" data-orig-size="605,856" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="CPE Bach Versuch title page" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=212" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=440" loading="lazy" class="alignnone size-full wp-image-3112" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png" alt="" width="440" height="623" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=440&h=623 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=106&h=150 106w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=212&h=300 212w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png 605w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In the 18th century, the (physical & emotional) feeling of <em>Tempo </em>is not just a matter of speed (mathematical quantity) but of character (emotional quality). So we need to avoid a simplistic focus on “what is the right speed” and examine original notation, historical practices of beating time, and the subtle relationship between <em>Tempo </em>and <em>Affekt</em>.</p> <p> </p> <h2>Before 1750</h2> <p> </p> <p>Early 18<sup>th</sup>-century notation is intended to indicate which note-value corresponds to the Tactus beat. That beat varies only a little in absolute speed (around one beat per second), but the emotional quality of the beat (as physical movement of the hand) and of the music that is produced, varies greatly. Notation gives detailed information: JS Bach’s <em>D minor Prelude </em>(from Book 1 of <em>Das Wohltemperierte Klavier</em>) is notated in C, with triplet semiquavers: had it been notated with the same note-values, but with a time-signature of 24/16, a different beat-tempo would be implied. If he had added a tempo word, such as <em>Allegro</em>, this would modify the beat-tempo-Affekt from the default setting indicated by the notation. This is the concept of <em>Tempo Ordinario </em>(also known as <em>Tempo Giusto</em>): a default beat and beat-speed indicated by the notation, which can be modified by words.</p> <p><strong>We must therefore be careful to check what the original note-values, time signature and tempo words are, so that we are not misled by well-intentioned editorial interventions.</strong></p> <p>This practice is explained, with more detail than most of us can manage, in Mattheson’s <a href="https://imslp.org/wiki/Das_neu-er%C3%B6ffnete_Orchestre_(Mattheson%2C_Johann)"><em>Das neu-eröffnete Orchestre </em></a>(1719) & <a href="https://imslp.org/wiki/Der_vollkommene_Capellmeister_(Mattheson%2C_Johann)"><em>Der vollkommene Kapellmeister</em></a> (1739) and Walther’s <em><a href="https://imslp.org/wiki/Musicalisches_Lexicon_(Walther,_Johann_Gottfried)">Lexicon</a> </em>(1741). But nobody is expected to memorise the complete writings of these authors: these are reference-books. It doesn’t take long to look up 24/16 and read how it is different from C.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-24-16.png"><img data-attachment-id="3102" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/mattheson-24-16/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-24-16.png" data-orig-size="397,215" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Mattheson 24-16" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-24-16.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-24-16.png?w=397" loading="lazy" class="alignnone size-full wp-image-3102" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-24-16.png" alt="" width="397" height="215" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-24-16.png 397w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-24-16.png?w=150&h=81 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-24-16.png?w=300&h=162 300w" sizes="(max-width: 397px) 100vw, 397px" /></a></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-c.png"><img data-attachment-id="3103" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/mattheson-c/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-c.png" data-orig-size="401,153" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Mattheson C" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-c.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-c.png?w=401" loading="lazy" class="alignnone size-full wp-image-3103" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-c.png" alt="" width="401" height="153" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-c.png 401w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-c.png?w=150&h=57 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/mattheson-c.png?w=300&h=114 300w" sizes="(max-width: 401px) 100vw, 401px" /></a></p> <p> </p> <p>The underlying principle is that <strong>Compound</strong> time-signatures suggest a slower tempo with a “hop” on the last of three short notes; whereas <strong>Duple</strong> time-signatures suggest a faster tempo, with less (or no) “hop”.</p> <p><strong>The most important lesson of all is that we don’t need to invent answers: clear answers are available, if we know where to look for them. </strong></p> <p> </p> <h2>After 1750</h2> <p>In 1752, Quantz gives details of an emerging practice, in which such tempo-words as <em>allegro </em>or <em>adagio </em>indicate which note-value has the “pulse”, adjusting (but not abandoning) the previous system based on time-signatures. The <em>Adagio un poco </em>of CPE Bach’s <em>Sonata </em>for harp might be counted in steady quavers, with a “slightly relaxed” feel to the quaver-beat, rather than in three very drawn-out crotchets.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png"><img data-attachment-id="3105" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/quantz-adagio-counted-on-quavers-or-crotchets/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png" data-orig-size="714,216" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Quantz Adagio counted on quavers or crotchets" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png?w=440" loading="lazy" class="alignnone size-full wp-image-3105" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png" alt="" width="440" height="133" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png?w=440&h=133 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png?w=150&h=45 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png?w=300&h=91 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-adagio-counted-on-quavers-or-crotchets.png 714w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>Quantz defines his pulse as approximately 80 beats per minute (whereas a century previously, Mersenne’s default was 60 beats per minute).</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png"><img data-attachment-id="3107" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/quantz-pulse-80/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png" data-orig-size="719,40" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Quantz Pulse 80" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png?w=440" loading="lazy" class="alignnone size-full wp-image-3107" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png" alt="" width="440" height="24" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png?w=440&h=24 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png?w=150&h=8 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png?w=300&h=17 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/quantz-pulse-80.png 719w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p><strong>Again, we don’t have to make guesses, or memorise an entire book. We can look up specific instructions for the particular notations at hand.</strong></p> <h2>Online Resources – Scores</h2> <p>A mighty modern resource for answering questions about baroque music lies in the easily-accessible power of free online music-libraries, in particular <strong>IMSLP</strong>. There is no longer any excuse for using some crappy mid-20<sup>th</sup>-century edition, when original prints and holographs (manuscript in the composer’s own hand) are available free. Faster, cheaper, better! IMSLP is expanding so fast, that its own index struggles to keep pace: the most effective way to search is using Google. As an example, a Google search on “Bach 48 IMSLP” led me instantly to the <a href="http://ks4.imslp.info/files/imglnks/usimg/d/dd/IMSLP457551-PMLP05948-Partitur_D-B_Mus._ms._Bach_P_415.pdf">Book 1 holograph</a>, with the Prelude in question.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png"><img data-attachment-id="3109" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/bach-48-d-minor-prelude-incipit/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png" data-orig-size="1314,426" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Bach 48 D minor prelude incipit" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png?w=440" loading="lazy" class="alignnone size-full wp-image-3109" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png" alt="" width="440" height="143" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png?w=440&h=143 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png?w=880&h=286 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png?w=150&h=49 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png?w=300&h=97 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/bach-48-d-minor-prelude-incipit.png?w=768&h=249 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>Harpists (and guitarists) are very attached to their old-fashioned editions, but the time has come to realise that most of what many editors have added is unhelpful or misleading, if not simply wrong. Cluttered scores (with zillions of additional pencil-markings prompted by teachers) lead to a micro-controlling mindset, which is very different from the two-point focus of baroque practice: Tactus and Text. [In instrumental music, we play in Tactus and <u>as if</u> we were singing some Text, with syllables, sense-groups, and meaning]</p> <p> </p> <p>Some years ago, I stopped accepting the Grandjany arrangement as the basis for a lesson on Handel’s <em>Harp Concerto</em>. It’s a wonderful arrangement, and should still be played, with all the accoutrements of 1940s style. But as a lens through which to study Handel, it has so much of its own character that it utterly distorts the long view. The original Walsh print of the Handel Concerto is free online at TheHarpConsort.com: <a href="https://www.theharpconsort.com/study-early-harps">Study Early Harps</a>, easy to read, clear and uncluttered. Mozart’s (1778) <a href="http://ks.petruccimusiclibrary.org/files/imglnks/usimg/2/22/IMSLP292700-PMLP03117-Mozart_-_Concertante_a_La_Harpe,_e_Flauto_-Autograph-.pdf">holograph of the Flute & Harp Concerto</a> is free online at IMSLP, easy to read, clear and uncluttered. The <a href="https://imslp.org/wiki/Solo_f%C3%BCr_die_Harfe,_H.563_(Bach,_Carl_Philipp_Emanuel)">holograph of CPE Bach’s <em>Sonata </em></a>is also clear to read, and the library holding it has recently made it available online.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg"><img data-attachment-id="3111" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/sonata-1/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg" data-orig-size="451,640" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Sonata 1" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg?w=211" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3111" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg" alt="" width="440" height="624" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg?w=440&h=624 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg?w=106&h=150 106w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg?w=211&h=300 211w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/sonata-1.jpg 451w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>For any other piece, you should check IMSLP for the best available free edition, before you turn up for a lesson with some crappy edition.</p> <p> </p> <h3>Crappy, clunky, expensive or free?</h3> <p> </p> <p>How do you know if the edition you are using is crappy? “Arranged for harp” is already a warning sign, and the death-sentence is confirmed by anachronistic editorial additions [metronome marks; implausible tempo markings; long phrase-lines; such romantic favourites as <em>legato, sostenuto, cantabile </em>etc; other anachronisms e.g. mention of ‘pianoforte’ in a work by JSB] <u>unless acknowleged</u> [by being placed inside brackets].</p> <p>Good old 19<sup>th</sup>-century complete editions are often available on IMSLP. These are clunky, but better than crappy mid-20<sup>th</sup> century arrangements. Recent Ur-text editions reflect the latest scholarship, but only if you take the trouble to read the prefaces, and they are so expensive that they mostly languish in institutional libraries. Original prints and manuscripts are not hard to read: in this period the only significant hurdle might be an unfamiliar clef. And on IMSLP, they are free and faster to access than that crappy edition we had to make do with 50 years ago.</p> <p>Let this be your motto:</p> <blockquote><p>“<span style="color:#ff0000;">I</span> <span style="color:#ff0000;">M</span>ust <span style="color:#ff0000;">S</span>earch [the free, online] <span style="color:#ff0000;">L</span>ibrary <u>before</u> <span style="color:#ff0000;">P</span>laying [from some crappy edition]”</p></blockquote> <h2></h2> <h2>Online Resources – Treatises</h2> <p> </p> <p>Of course, there are many questions to be answered, when one starts from an original source. But those questions are not answered (or worse still, they are answered <u>wrong</u>) if you start from a crappy edition. So…. it’s time to give up that crappy habit! From now on, I’m going to encourage all my students to look up their piece on IMSLP, <u>before</u> they come to a lesson or class.</p> <p>I recommend <a href="http://www.EarlyMusicSource.com">EarlyMusicSources.com</a> as a huge resource of free online historical treatises and expert modern commentary (including entertaining videos on hot issues in Historically Informed Perforamnce). The famous mid-18<sup>th</sup>-century treatises are all freely available online.</p> <ul> <li><a href="https://imslp.org/wiki/The_Art_of_Playing_on_the_Violin%2C_Op.9_(Geminiani%2C_Francesco)">Geminiani (1751)</a></li> <li><a href="https://imslp.org/wiki/Versuch_einer_Anweisung_die_Fl%C3%B6te_traversiere_zu_spielen_(Quantz,_Johann_Joachim)">Quantz (1752)</a></li> <li><a href="https://imslp.org/wiki/Versuch_%C3%BCber_die_wahre_Art_das_Clavier_zu_spielen%2C_H.868%2C_870_(Bach%2C_Carl_Philipp_Emanuel)">CPE Bach (1753 & 1762)</a></li> <li><a href="https://imslp.org/wiki/Versuch_einer_gr%C3%BCndlichen_Violinschule_(Mozart,_Leopold)">Leopold Mozart (1756)</a></li> <li><a href="https://imslp.org/wiki/Essai_sur_la_vraie_maniere_de_jouer_de_la_harpe_(Meyer%2C_Philippe-Jacques)">Meyer (1763 & 1772)</a></li> </ul> <p> </p> <p>Links to Mattheson and Walther (first half of the 18th-century) are above. Click from this article, or just Google.</p> <p>Yeah, the books are long and in foreign languages. So use the index of chapters and Google Translate. And maybe there is an English translation online, or a text-only version [i.e. searchable with Ctrl-F] from <a href="https://www.gutenberg.org/">Project Gutenberg</a> or wherever. Several key sources are translated on this blog, and every article here includes links to free-online original sources.</p> <p> </p> <p>And of course, ask for help from your teacher, but <u>after</u> you have tried for yourself, and reached some road-block…</p> <p>“Historically Informed” does not mean imitating CDs or gleaning guesses from geeky gurus. It means using Historical Information, and that information is freely available. Just Google a historical treatise or an original manuscript!</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png"><img data-attachment-id="3114" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/essai-sur-la-vraie-maniere/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png" data-orig-size="1062,546" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Essai sur la vraie Maniere" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png?w=440" loading="lazy" class="alignnone size-full wp-image-3114" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png" alt="" width="440" height="226" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png?w=440&h=226 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png?w=880&h=452 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png?w=150&h=77 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png?w=300&h=154 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/essai-sur-la-vraie-maniere.png?w=768&h=395 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3100" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3100" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Tactus%2C%20Tempo%20%26%20Affekt%3A%20Historical%20Principles%20%26%20Online%20Resources&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F05%2F12%2Ftactus-tempo-affekt-historical-principles-online-resources%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/early-harps/" rel="category tag">Early Harps</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/introductions/" rel="category tag">Introductions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/category/early-harps/single-action-harp/" rel="category tag">Single Action Harp</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/text/" rel="category tag">Text</a>, <a 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class="post-3042 post type-post status-publish format-standard hentry category-continuo category-historical-action category-history-of-emotions category-introductions category-moving-the-passions category-music-and-philosophy category-rhetoric category-text tag-art tag-baroque tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-continuo tag-early-music tag-emotions tag-expression tag-flow tag-hip tag-historical-action tag-history-of-emotions tag-muovere-gli-affetti tag-musica-recitativo tag-rhetoric tag-science tag-seicento tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/" rel="bookmark">Prattica di Retorica in Musica – Dispositio</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/#comments">5</a></p> </header> <div class="entry-content"> <p>This is the second post inspired by an April Fools’ Day joke, for which I faked up the title page of an imaginary Baroque treatise on <em><strong>The Practice of Rhetoric in Music</strong>, </em>starting several trains of thought: Why does such a book not exist? What might it have contained? What would we hope to learn from it? What is lacking in modern-day writing on Musical Rhetoric? And why shouldn’t I try writing it for myself?</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png"><img data-attachment-id="3008" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/prattica-di-retorica-in-musica/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png" data-orig-size="572,845" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Prattica di Retorica in Musica" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=203" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=440" loading="lazy" class="alignnone size-full wp-image-3008" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png" alt="" width="440" height="650" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=440&h=650 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=102&h=150 102w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=203&h=300 203w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png 572w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The first post in this series, <em><a href="https://andrewlawrenceking.com/2020/04/20/inventio/">Prattica di Retorica in Musica – Inventio</a></em>, introduces the project by means of the <strong>Five Canons of Rhetoric</strong> and imagines the first pages of our Unicorn-Book, which might include an Address to the Reader and a Dedicatory Poem.</p> <p>The next pages would probably consist of the Table of Contents, i.e. an ordered list of chapter-headings. For a book-printer, this table would only be assembled once the main body-text was complete. But for a rhetorical writer, these chapter-headings are advance planning of the structural organisation of the material: they present that second Canon of Rhetoric, the <em><strong>Dispositio</strong></em><strong> (Arrangement)</strong><em>.</em></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png"><img data-attachment-id="3050" data-permalink="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/dispositio-1/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png" data-orig-size="450,650" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dispositio 1" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3050" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png" alt="" width="440" height="636" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=440&h=636 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=104&h=150 104w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=208&h=300 208w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png 450w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>Arranging the <em>Dispositio</em></h2> <p> </p> <p>In an endlessly recursive process, the structuring of any writing on Rhetoric is itself a work of Rhetoric. My <strong>material</strong> for this project is the Practice of Rhetoric in Music, and the <strong>organisation</strong> of this material is inspired by the Modes of Rhetoric, in the <strong>style</strong> of a list of book-chapters, which I have considered – consciously and subconsciously – over the last month. Turning ideas over in your mind is linked to the processes of <strong>memory</strong>, which (as modern science tells us) is not merely the recall of fixed data, but a creative process of apprehending, reviewing, connecting and reassembling complex understandings. And now I <strong>deliver </strong>this structure to you…</p> <p>In this blog-post, the <em>Dispositio </em>is now my <strong>material</strong>, which I have <strong>organised</strong> into two sections (this discursive article, and – below – the presentation of the list itself), in two contrasting <strong>styles</strong> (modern-day semi-formal prose and 17th-century formal list), carefully <strong>considered</strong>, and <strong>delivered</strong> in this blog-post.</p> <p>The <strong>style</strong> – a list of chapters – has also become <strong>material </strong>to be discussed here, and functions as an <strong>organising</strong> device that <strong>delivers</strong> new <strong>thoughts</strong>.</p> <p>The processes of <strong>memory </strong>and thought likewise are now <strong>material </strong>to be written about, functioning to <strong>organise</strong> themselves by thinking about thoughts, to refine <strong>style</strong>, and (by <strong>remembering</strong> memories) to <strong>deliver </strong>results.</p> <p>Those results are the <strong>material</strong> that will be <strong>organised</strong>, <strong>stylised</strong>, <strong>considered</strong> and <strong>delivered</strong> as the output of the entire project.</p> <p>And – just in case you didn’t notice – that 5-paragraph description of the nested processes of writing rhetorically about Rhetoric was itself rhetorically made: its <strong>material</strong> was the rhetoric of Rhetoric, its <strong>organisation</strong> was iteratively rhetorical, the <strong>style</strong> was as rhetorically clear as I could make it, it seemed to spring from my mind as if I were <strong>remembering</strong> something I already knew, and I <strong>delivered</strong> it in a happily spontaneous flow.</p> <p>So now you have a rhetorical account of a rhetorically made description of the rhetorical process of writing about Rhetoric. And we could continue this all night, unless you counter with a <em>refutatio </em>or I reach a <em>peroratio</em>!</p> <p> </p> <h3><em>Digressio – </em>an allegorical digression</h3> <p> </p> <p>One of the period delights of Rhetoric was the enjoyment of rhetorical discourse for its own sake, like an athlete enjoying the working of their own muscles during training, or a spectator watching that athlete. If the spectator is also an athlete, there is an opportunity to learn, or to sharpen ones analytical insight. Which muscle moved there, and what effect did it have? We can compare the trained and untrained body, we can notice the physical results and competetive benefits of particular training exercises for specific applications. If we are fans or practitioners of Rhetoric, we can observe its work whenever we encounter words.</p> <p> </p> <h3><em>Thesis – back to the underlying concepts</em></h3> <p> </p> <p>I will probably re-organise this <em>Dispositio</em> as I go along. But it is currently linked to these thoughts:</p> <p>The ‘original book’ does not exist, perhaps because Rhetoric was so deeply internalised for musicians of this period that they applied it, without needing further instruction, to <span style="text-decoration:underline;">any</span> means of expression. In another sense, <span style="text-decoration:underline;">every</span> period treatise on music discusses the Practice of Rhetoric because music itself is a rhetorical art: to practise music is to practise rhetoric. My task is then not to invent new principles, but to identify (from amongst well-researched historical practices) instances where rhetoric is at work in music.</p> <p>As musicians, we hope for clear practical advice, for tools that can be applied in the rehearsal room and in performance. As performers, we hope for ideas that will be effective with our audiences.</p> <p>This is perhaps what is lacking in the modern literature on musical rhetoric. After reading some scholarly tome, we may think “how interesting, how beautiful!”, but we may not have a clear strategy of how to apply its ideas in our next rehearsal. At best, we might hope that it has given us some inspiration that will emerge in our musicking, by some mysterious process. I do believe in inspiration and mysterious processes, but in the rehearsal room (or as an individual’s pre-performance mantra), we usually need concise, precisely encapsulated suggestions, rather than yards of woffle and dollops of hope.</p> <p>What period sources there are, and also much modern writing on musical rhetoric, tend to concentrate on Figures and Tropes. And whilst knowing stuff is fun, and knowing what <em><a href="https://en.wikipedia.org/wiki/Figure_of_speech">anaphora</a> </em>is helps one notice when <em>a</em><em>naphora</em> is at work, that doesn’t necessarily let you know what to do with <em>anaphora, </em>no matter how many times you see or hear <em>anaphora </em>in an aphorism, no, no! And even if you know that the use of <a href="https://en.wikipedia.org/wiki/Figure_of_speech"><em>adnominations</em></a> and <em><a href="https://en.wikipedia.org/wiki/Figure_of_speech">homophones</a> </em>is not strictly <em>anaphora</em>, this doesn’t necessarily help your audience. So although it is not wrong to define Rhetoric in terms of Figures and Tropes (and indeed, this definition becomes increasingly relevant during our period), it is not the most direct path towards practical application in music.</p> <p>Since Rhetoric is directed outwards – to persuade the listener; to delight, teach and move the passions of the audience – and since we, as performers, want to put it into practice, the book we need must tell us how to apply Rhetoric to good effect. So my <em>dispositio </em>focuses on fundamentals of good Oratory in musicking, ideas that performers can apply in order to produce results that audiences will appreciate.</p> <p> </p> <h3><em>Hypothesis – focus on particular ideas</em></h3> <p> </p> <p><em>Words</em>: Readers would expect the introduction to discuss what Rhetoric is. But we also need to consider what Music is – and what Science, Art and Practice are too – because our modern assumptions differ from period understandings.</p> <p><em>Ethos</em>: Rhetoric is delivered by one person to others: we must consider who does what.</p> <p><em>Logos</em>: The most important section of the book should link the performance of music to Good Delivery in Oratory. The more our musicking deals with <span style="text-decoration:underline;">words</span>, the more eloquent its oratory will be.</p> <p><em>Pathos</em>: The most profound result we hope for is to move the passions of our listeners. This Part tells you how to do it.</p> <p><em>Kairos</em>: How does the moment of opportunity for Rhetoric present itself? Shifting the focus from historical practices to the ephemeral instant of performance, Plato’s eternal <em>now</em>, this Part attempts to reconcile period understandings of Rhetoric and Humours with 21st-century neuro-science. What is the structure of magic in music?</p> <p> </p> <h3>Peroratio</h3> <p> </p> <p>The vital heart of Rhetoric, which sends the life-giving Sanguinity of passion to the singer’s voice and the instrumentalist’s hands, is structure. How dry that might seem, how Melancholy! But this sturdy, earthborne structure supports a mighty tower, rising proudly as if with Choleric ambition to reach the highest heavens of eloquent beauty.</p> <p>The achievement of our art must be to conceal the scaffolding and reveal the architecture. But the process of building begins with a well-wrought foundation. <em>Dispositio </em>precedes <em>elocutio</em>.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png"><img data-attachment-id="3051" data-permalink="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/dispositio-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png" data-orig-size="450,650" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dispositio 2" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=440" loading="lazy" class="alignnone size-full wp-image-3051" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png" alt="" width="440" height="636" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=440&h=636 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=104&h=150 104w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=208&h=300 208w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png 450w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <hr /> <p> </p> <h2>DISPOSITIO</h2> <p> </p> <h3>The Introductory Part: on <em>Words</em></h3> <p> </p> <p>What is Rhetoric?</p> <p style="padding-left:40px;"><em>What is Grammar?</em><br /> <em>What is Logic?</em><br /> <em>Eloquentia Perfecta</em></p> <p>What is Music?</p> <p>What is Practice?</p> <p style="padding-left:40px;"><em>What is Art?<br /> What is Science?</em></p> <p>What is the Practice of Rhetoric in Music?</p> <p style="padding-left:40px;"><em>What is the Art of Rhetoric in Music?</em><br /> <em>What is the Science of Rhetoric in Music?</em></p> <p> </p> <h3>The First Part: on <em>Ethos</em></h3> <p> </p> <p>The Practice in Music of the Five Canons of Rhetoric</p> <p>The Practice in Music of the Three Aims of Rhetoric</p> <p>The Practice in Music of the Topics of Rhetoric</p> <p>The Practice in Music of the Four Modes of Rhetoric</p> <p> </p> <h3>The Second Part: on <em>Logos</em></h3> <p> </p> <p>The Practice in Music of the Decorum of Rhetoric</p> <p style="padding-left:40px;"><em>Of Oratory</em><br /> <em>Of Syllables</em><br /> <em>Of Consonants</em><br /> <em>Of Vowels</em><br /> <em>Of Joining & Separating</em><br /> <em>Of Meaning</em><br /> <em>Of Intention</em><br /> <em>Of Genres</em><br /> <em>Of Place</em><br /> <em>Of Time</em></p> <p> </p> <h3>The Third Part: on <em>Pathos</em></h3> <p> </p> <p>The Practice in Music of the Four Humours of Rhetoric</p> <p>The Practice in Music of the Gestures of Rhetoric</p> <p>The Practice in Music of the Figures of Rhetoric</p> <h3>The Fourth Part: on <em>Kairos</em></h3> <p>Of the Mind</p> <p>Of New Language of Persuasion</p> <p> </p> <p> </p> <hr /> <p> </p> <p> </p> <p> </p> <p> </p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3042" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3042" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Prattica%20di%20Retorica%20in%20Musica%20-%20Dispositio&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F04%2F30%2Fprattica-di-retorica-in-musica-dispositio%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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category-history-of-emotions category-introductions category-moving-the-passions category-music-and-philosophy category-music-dance-swordsmanship category-rhythm category-text tag-art tag-baroque tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-early-music tag-early-opera tag-emotions tag-expression tag-hip tag-historical-action tag-history-of-emotions tag-muovere-gli-affetti tag-rhythm tag-science tag-seicento tag-swordsmanship tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/04/20/inventio/" rel="bookmark">Prattica di Retorica in Musica – Inventio</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/04/20/inventio/#comments">7</a></p> </header> <div class="entry-content"> <p>What started out as a bit of fun for April Fools’ Day – faking up the frontispiece of an imaginary 17th-century treatise on the <strong>Practice of Rhetoric in Music</strong> – got me thinking more seriously. This is just the kind of book I would love to study – many other Early Music scholars and performers too, I’m sure. So why doesn’t it exist? And, what would it say, if we were to find it after all? </p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png"><img data-attachment-id="3008" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/prattica-di-retorica-in-musica/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png" data-orig-size="572,845" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Prattica di Retorica in Musica" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=203" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=440" loading="lazy" class="alignnone size-full wp-image-3008" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png" alt="" width="440" height="650" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=440&h=650 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=102&h=150 102w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=203&h=300 203w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png 572w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h3>What’s the <strong>Use</strong>?<br /><br /></h3> <p>Those are deep questions to consider carefully, but after three weeks the title of my imaginary treatise – stolen from Zacconi (1596) <a href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/">read more here</a> – which I chose quickly, on impulse from the Subconcious, has revealed to my Conscious mind the gap in HIP sources and practice. We have an overwhelming abundance of primary sources to tell us what <strong>Rhetoric</strong><em> </em>is, and some fine modern-day writing that describes how <strong>Rhetoric</strong> was written into renaissance and Baroque <strong>Music. </strong>The vital question is how we can <span style="text-decoration:underline;">apply</span> the Art of Musical Rhetoric in <strong>Practice</strong> – in individual study, ensemble rehearsals and public performance. We have studied the <strong>Science </strong>of Music, we are learning the <strong>Art </strong>of Rhetoric, but we want to acquire practical skill in its <strong>Use</strong>. <a href="https://andrewlawrenceking.com/2018/07/19/technique-terminology-the-cremona-papers-john-mckean/">More on the period concepts of <strong>Science</strong>, <strong>Art</strong> and <strong>Use</strong> here</a>. </p> <p>To bridge this gap, since the late renaissance or early baroque <em>Prattica di Retorica in Musica </em>seems not to exist, I decided to write it myself. Remembering medieval <em>trobadors </em>and <em>trouvères,</em> ‘such as found ou<span style="text-decoration:underline;">t</span> musical tunes and recited verses in writing’; and inspired by the rhetorical canon of <strong><em>Inventio</em></strong>, by which one seeks to <span style="text-decoration:underline;">discover</span> the best arguments for the case at hand; my aim is not to invent but to search for a true resemblance of this unicorn-book. </p> <p>Clearly, there is some serious work of <strong><em>Dispositio </em></strong>(organisation of the material) to be done. Perhaps the most effective format – <strong><em>Elocutio</em> </strong>– could be to adopt the position of a blog-poster, discussing the <em>Prattica </em>chapter by chapter, supported by ‘citations of the original’. My hope is to instill <strong><em>Memoria</em></strong>, as if recalling an elusive memory; for my <em>Retorica</em> should deliver nothing new, but should rather be a declaration – a oratorical <strong><em>Pronuntiatio</em> </strong>– of truths that we already hold to be self-evident. And all this should lead to <strong><em>Actio</em></strong>: putting rhetoric into practice <em>in Musica</em>. </p> <p>So perhaps you can imagine what follows as a modern editor’s commentary on a recently discovered historical source…</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png"><img data-attachment-id="3010" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/arianna-a-la-recherche-title-page/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png" data-orig-size="550,785" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Arianna a la recherche title page" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png?w=210" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png?w=440" loading="lazy" class="alignnone size-full wp-image-3010" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png" alt="" width="440" height="628" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png?w=440&h=628 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png?w=105&h=150 105w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png?w=210&h=300 210w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-title-page.png 550w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <h3> </h3> <h3>Foreword </h3> <p> </p> <p>It was Monteverdi scholar Tim Carter (don’t miss his inspiring yet thoroughly practical survey of <a href="https://yalebooks.yale.edu/book/9780300217261/monteverdis-musical-theatre"><em>Monteverdi’s Musical Theatre</em></a> ) who first guided me towards an unorthodox and creative way of investigating historical performance practice: beyond the analysis of surviving works, have a go at creating (re-constructing would be too strong a word) what is missing. The idea is to confront the same questions and challenges that creative musicians encountered back then, starting from a <em>tabula rasa</em> and testing, questioning, reviewing everything you create, to complement the standard approach of gazing at the beauty of an extant masterpiece. <br /><br />It’s like lifting the bonnet of the car and tinkering with the engine – you will learn from your mistakes, and you’ll certainly learn more than by merely reading the workshop manual. After all, mathematics students have to solve problems themselves, as well as studying worked examples by famous mathematicians of the past. And Rhetoric itself begins with three Canons of creativity, and continues with the reflective process of Memorisation, before culminating in the final Canon of Delivery.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg"><img data-attachment-id="1906" data-permalink="https://andrewlawrenceking.com/2017/11/25/tactus-sprezzatura-drama/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg" data-orig-size="1100,748" data-comments-opened="1" data-image-meta="{"aperture":"6.3","credit":"","camera":"Canon EOS 5D Mark III","caption":"","created_timestamp":"1506624050","copyright":"","focal_length":"45","iso":"2000","shutter_speed":"0.016666666666667","title":"","orientation":"1"}" data-image-title="Act I Arianna, Teseo, Dorilla, Consigliero, Chorus of Soldiers" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-1906" src="https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg" alt="" width="440" height="299" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg?w=440&h=299 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg?w=880&h=598 880w, https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg?w=150&h=102 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg?w=300&h=204 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/11/act-i-arianna-teseo-dorilla-consigliero-chorus-of-soldiers.jpg?w=768&h=522 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><br /><br /></p> <p>In 2017, with expert guidance and thought-provoking challenges from Tim, I re-made Monteverdi’s lost masterpiece <em>Arianna </em>based on the surviving libretto, a musical fragment – the famous <em>Lamento</em> – letters and other music from the time of the first performance in 1608. The resulting work, <em><a href="https://andrewlawrenceking.com/2018/05/25/arianna-a-la-recherche/">Arianna a la recherche</a> </em>was performed at the OPERA OMNIA International Baroque Opera Studio, re-establishing Rinuccini’s <em>Tragedia </em>as the fourth opera in the Monteverdi trilogy. <a href="https://andrewlawrenceking.com/2017/06/15/why-remake-monteverdis-arianna/">Why re-make Monteverdi’s <em>Arianna</em>?</a> here</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png"><img data-attachment-id="3012" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/arianna-a-la-recherche-2-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png" data-orig-size="469,791" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Arianna a la recherche 2" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png?w=178" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png?w=440" loading="lazy" class="alignnone size-full wp-image-3012" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png" alt="" width="440" height="742" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png?w=440&h=742 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png?w=89&h=150 89w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png?w=178&h=300 178w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/arianna-a-la-recherche-2.png 469w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p><br />And now, for this project on the <strong>Practice of Rhetoric in Music</strong>, I’m once again <strong>investigating by creating</strong>. Of course, Creative Research is no longer a new concept, and it has already been applied to Early Music, but usually by creating something new out of old material. My aim is different – I want to supply new material that will fill a gap in what has come down to us, like a restorer patching a threadbare section of an old tapestry, weaving strands of carefully researched threads into a plausible picture that fits well with the old stuff. Or like a luthier, who constructs a ‘historical instrument’ that is simultaneously a carefully researched ‘replica’ of a period original, and a creative work of art in its own right. </p> <p>In the workshop of Rhetoric, my power-tool is <em>energia </em>– the communicative spirit that energises the mind in performance. To drive forward the research process, I imagine how such a historical treatise might have been read aloud by a fine orator, and how we today might apply its period pedagogy to training and rehearsal for future concerts, recordings and opera productions.</p> <p> </p> <div data-shortcode="caption" id="attachment_3015" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg"><img aria-describedby="caption-attachment-3015" data-attachment-id="3015" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/rhetoric/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg" data-orig-size="550,431" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Rhetoric" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=440" loading="lazy" class="wp-image-3015 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg" alt="" width="440" height="345" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=440&h=345 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=150&h=118 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=300&h=235 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg 550w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3015" class="wp-caption-text">Teaching Rhetoric in a Knight-academy. The listener in the foreground left (as seen by the viewer: this is the privileged position forward-right on stage) leans his head on his left hand in the classic gesture of Melancholy: not sadness here, but deep thought, careful concentration on precise detail.</p></div> <p> </p> <h3>Exordium</h3> <p><br />Before I can look for answers to the big questions of Musical Rhetoric in Historical Practice, I first have to find out what those questions are. See <a href="https://hitchhikers.fandom.com/wiki/Deep_Thought">Deep Thought</a>. In the search for better questions, I’ve started by pondering why we, today’s Early Musicians, want this book. And why was it not written back then? These deceptively simple questions are fundamental to the project, and need careful consideration.</p> <p> </p> <div data-shortcode="caption" id="attachment_3019" style="width: 276px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png"><img aria-describedby="caption-attachment-3019" data-attachment-id="3019" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/sollicitem-cogito/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png" data-orig-size="266,273" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Sollicitem cogito" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png?w=266" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png?w=266" loading="lazy" class="wp-image-3019 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png" alt="" width="266" height="273" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png 266w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/sollicitem-cogito.png?w=146&h=150 146w" sizes="(max-width: 266px) 100vw, 266px" /></a><p id="caption-attachment-3019" class="wp-caption-text">John Bulwer scratches his head in Deep Thought (1644). Another historical gesture of intense cogitation is to chew on your finger (not the thumb, that means something different!).</p></div> <p> </p> <p>For now, I decided just to have some more fun, by cooking-up an ‘original Preface’. Don’t panic, I have no intention of switching permanently to <em>Ye Olde Worlde</em> style. But I am thinking seriously about how a 17th-century writer would frame his address To the Reader, and taking the opportunity to practise a bit of Rhetoric myself. </p> <p>So how would you feel, if you discovered an exciting, hitherto unknown, historical source in the original? You might savour the promises offered by the Frontispiece, and get a first taste of food for thought from the formal Dedication and Preface, before settling down to read, mark, learn and inwardly digest the detailed chapters of the principal text. In that spirit, I invite you to consider this ‘modern editor’s introduction’ and the ‘original Preface’ below as hors d’oeuvres. <em>Bon appetit!</em> <br /><br /></p> <div data-shortcode="caption" id="attachment_2532" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg"><img aria-describedby="caption-attachment-2532" data-attachment-id="2532" data-permalink="https://andrewlawrenceking.com/2019/09/24/the-ministers-conditions-in-monteverdis-orfeo/violinist-with-wine-glass/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg" data-orig-size="600,735" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="violinist with wine glass" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=245" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=440" loading="lazy" class="wp-image-2532 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg" alt="" width="440" height="539" srcset="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=440&h=539 440w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=122&h=150 122w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=245&h=300 245w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg 600w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-2532" class="wp-caption-text">Adieu, good Monsieur Melancholy! This cheerful chap might be good Signior Love. Certainly, he embodies the Sanguine Humour: warm red colours in his ruddy cheek and in the curtain behind him, abundant red-brown hair and bright eyes, a generous gesture, a confident smile, a jaunty feather in his cap, outward-directed energy, red wine and perhaps offering the hope of dance-music soon.</p></div> <p> </p> <h2>To the Reader</h2> <p><em>Transcriber’s note: We are fortunate that a period translation survives, apparently made from a holograph now lost. Sadly, the original date is indecipherable. Nevertheless, the handwritten annotations in faded red ink appear to be contemporary with the document itself.<br /><br /><br /></em></p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png"><img data-attachment-id="3025" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/prattica-di-retorica-in-musica-preface/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png" data-orig-size="450,650" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Prattica di Retorica in Musica Preface" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3025" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png" alt="" width="440" height="636" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png?w=440&h=636 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png?w=104&h=150 104w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png?w=208&h=300 208w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-preface-1.png 450w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>PRATTICA DI RETORICA IN MUSICA</p> <p><em>To the </em>musicall<em> Reader</em></p> <p style="text-align:right;"><span style="color:#800000;"><em>Exordium</em></span></p> <p><em>In the </em>beginning<em> was the </em>WORD<em>, & the </em>Word<em> was </em>spoken in<em> the </em>ORATORY<em> of the Holy </em>Prophets<em>, & the same was </em>sung<em> in the </em>MUSIC of <em>King </em>David<em>, whose Harp could </em>soothe<em> the wrath of Saul; and in the image of the </em>Word<em> was man created: wherefore my Heart is inditing of </em>good<em> Matter, whence I do </em>make<em> the Things of which I </em>speak<em> & </em>sing; the Instrument of <em>my Tongue being like unto the Pen of a ready Writer: for, as my Mind was </em>taught<em> by the </em>Orators<em> of Ancient Greece & Rome, as my Ears </em>delight<em> in </em>Dante<em>, </em>Shakespeare<em> & other Poets of our times, and as the affections of my Soul are </em>moved<em> by the Music of Heaven, by the Harmony of Human Hearts, & by the Sound of </em>earthly<em> Instruments and Voices; so am I </em>persuaded<em> that such a Book as this was </em>never<em> seen, though greatly </em>needed:<em> and Necessity is the Mother of </em>INVENTION.</p> <p style="text-align:right;"><span style="color:#800000;"><em>Partitio</em></span></p> <p><em>Thus may </em>my<em> Words, though few and unworthy, </em>light<em> the </em>true<em> Way, & </em>illumine<em> certain sure </em>Principles<em>, by which you may make </em>practicall<em> Use of the ancient Art of Rhetoric, even in the very Science of Music: fitting the Pronouncing & the Action of your Delivery to the Matter of the Invention, as well as to the Arrangement of the Verses, & the Eloquence of the Music; and through the Mystery of Memory, from time to time both </em>recalling<em> & </em>re-creating<em> what hath been already </em>made:<em> according to the Aims & Canons of Rhetoric, the Virtues & Graces of Writing, the Devices & Figures of Speech, & the Art of Gesture: and </em>such<em> will be this Book’s </em>ARRANGEMENT.</p> <p style="text-align:right;"><span style="color:#800000;"><em>Confirmatio</em></span></p> <p><em>The ancient Poet sang of Arms and of a Man, & this my Book will speak of </em>Instruments<em> as well as of </em>Voices<em>; for Rhetoric may be </em>expressed<em> with the sound of the Trumpet, with the Psaltery & Harp, with the Timbrel and Dance, with </em>stringed<em> Instruments and Organs, and upon loud Cymbals & high Cymbals, as well as by </em>everything<em> that hath Breath: for Love of the Word maketh sounding Brass to become the tongues of Men & Angels; and giveth even a tinkling Cymbal </em>ELOQUENCE<em>.</em></p> <p style="text-align:right;"><span style="color:#800000;"><em>Confutatio</em></span></p> <p><em>And let none say that Rhetoric & Rhythm are not Brethren, nor that they cannot dwell together in Unity; for the Master cannot </em>teach<em>, who comes not betimes to School; the very Whirlwind of Passion cannot </em>move<em>, if the Actor misseth his Entrance; the Dancers cannot </em>delight<em>, who reel to & fro, and stagger like a drunken man: for the Eloquent Orator is like unto a Knight on Horseback, whose</em> one<em> Hand must hold the Reins of Rhythm, that the Steps and Pace be in good Measure; whilst the </em>other<em> Hand doth strike with the Sword of Rhetorick, that toucheth even unto the Heart: and this in Music requireth great Skill, & diligent Study, whether the Song be pricked on Paper, or printed in the </em>MEMORY<em>.</em></p> <p style="text-align:right;"><span style="color:#800000;"><em>Peroratio</em></span></p> <p><em>The End of all this my </em>RHETORICK<em> being Practicall, let the attentive Reader also take Pains to </em>practise<em> the Examples that follow, </em>pronouncing<em> them in Action; that, by sowing the Seeds of Rhetorick in the fertile </em>Ground<em> of Music, ye may know the Fruit of </em>good DELIVERY<i>,</i></p> <p style="text-align:right;">And live happily!</p> <h2>Dedicatory Poem<br /><br /></h2> <p>As in many such treatises, the following page contains a poem in support of the author’s work. The content of this sonnet strongly supports the indicated connection to Richard Barnfield, whose most famous work was attributed to Shakespeare in <em>The Passionate Pilgrim </em>(1599), though it had previously appeared in Barnfield’s <em>Poems in Divers Humours</em> (1598). <br /><br /></p> <p style="text-align:center;"><em>A </em>SONNET</p> <p style="text-align:center;"><em>on</em></p> <p style="text-align:center;"><em>THE PRACTICE </em></p> <p style="text-align:center;"><em>OF </em><em>RHETORIC IN MUSIC</em></p> <p style="text-align:center;"><em>By a Friend of Mr Richard </em>Barnfield</p> <p><em> </em></p> <p><em>If MUSIC & </em>sweet <em>POETRY </em>agree<em>,</em><br /><em>As they must needs, the Sister & the Brother.</em><br /><em>Then let this Book create twixt me and Thee</em><br /><em>Accord, </em>pronouncing <em>one alike the other.</em><br /><br />Dowland <em>to us is </em>dear<em>, whose heavenly Touch</em><br /><em>Upon the Lute doth ravish </em>human <em>Sense;</em><br />Shakespeare <em>strikes Hearts, for Plays of Words are </em>such<em>,</em><br /><em>As playing </em>Instruments <em>need no defence.</em></p> <p><em>We practise the </em>high <em>Art of </em>charming <em>Sound</em><br /><em>That </em>Phoebus<em>’ Lute, the Queen of Musick, makes,</em><br /><em>Yet Listeners in deep Delight are chiefly drowned</em><br /><em>Whenas our Musick </em>moveth <em>Passions for </em>their <em>sake.</em><br /><br /><em>Guard Harmony & Verse, </em>mark <em>the Words well,</em><br /><em>That RHYTHM & RHETORIC as </em>one <em>may dwell.</em></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png"><img data-attachment-id="3034" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/prattica-di-retorica-in-musica-dedicatory-sonnet/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png" data-orig-size="450,650" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Prattica di Retorica in Musica Dedicatory Sonnet" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png?w=440" loading="lazy" class="alignnone size-full wp-image-3034" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png" alt="" width="440" height="636" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png?w=440&h=636 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png?w=104&h=150 104w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png?w=208&h=300 208w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica-dedicatory-sonnet-2.png 450w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p><em> </em></p> <p> </p> <p><em> </em></p> <p><em> </em></p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-2913" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/04/20/inventio/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-2913" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/04/20/inventio/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Prattica%20di%20Retorica%20in%20Musica%20-%20Inventio&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F04%2F20%2Finventio%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/introductions/" rel="category tag">Introductions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-and-philosophy/" rel="category tag">Music and Philosophy</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-dance-swordsmanship/" rel="category tag">Music, Dance & Swordsmanship</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/text/" rel="category tag">Text</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/art/" rel="tag">Art</a>, <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-gesture/" rel="tag">Baroque Gesture</a>, <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/baroque-opera/" rel="tag">Baroque Opera</a>, <a href="https://andrewlawrenceking.com/tag/early-music/" rel="tag">Early Music</a>, <a href="https://andrewlawrenceking.com/tag/early-opera/" rel="tag">Early Opera</a>, <a href="https://andrewlawrenceking.com/tag/emotions/" rel="tag">Emotions</a>, <a href="https://andrewlawrenceking.com/tag/expression/" rel="tag">Expression</a>, <a href="https://andrewlawrenceking.com/tag/hip/" rel="tag">HIP</a>, <a href="https://andrewlawrenceking.com/tag/historical-action/" rel="tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/tag/history-of-emotions/" rel="tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/tag/muovere-gli-affetti/" rel="tag">muovere gli affetti</a>, <a href="https://andrewlawrenceking.com/tag/rhythm/" rel="tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/tag/science/" rel="tag">Science</a>, <a href="https://andrewlawrenceking.com/tag/seicento/" rel="tag">seicento</a>, <a href="https://andrewlawrenceking.com/tag/swordsmanship/" rel="tag">Swordsmanship</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2020/04/20/inventio/" title="Permalink to Prattica di Retorica in Musica – Inventio" rel="bookmark" class="permalink"><span class="month upper">Apr</span><span class="sep">·</span><span class="day lower">20</span></a></p> </footer> </article> <article id="post-2959" class="post-2959 post type-post status-publish format-standard hentry category-continuo category-early-harps category-history-of-emotions category-improvisation category-introductions category-italian-baroque-harp category-moving-the-passions category-music-and-philosophy category-rhythm category-text tag-18th-century tag-baroque tag-baroque-music tag-baroque-opera tag-continuo tag-early-harp tag-early-music tag-early-opera tag-expression tag-harp tag-hip tag-history-of-emotions tag-muovere-gli-affetti tag-musica-recitativo tag-rhythm tag-seicento tag-tactus"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/" rel="bookmark">Rhetorical contrasts in Crisis: charm, communicate, console?</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/#respond"><span class="no-reply">0</span></a></p> </header> <div class="entry-content"> <p>This article, published in shorter form as the introduction to a concert streamed online, discusses the current relevance of Baroque <em>affetti</em> [emotions] and the Rhetorical aims of <em>delectare</em>, <em>docere</em>, <em>movere </em>[to delight, to teach, to move the Passions]. <br /><br /><a href="https://1drv.ms/b/s!AkqKl8qrnXuI4137kyNEmvVlAK8r?e=1hOhbX">Concert listings, song texts & translations</a><br /><br /><a href="https://www.benedict.television.ee/">Online Concert</a></p> <p><em><span style="color:#800000;">The link to the concert may become temporarily unavailable, whilst the recording goes through post-production. And new concerts in the series may appear at the top of the broadcaster’s list. I hope to provide a permanent, direct link, soon</span>.<br /></em></p> <h2>Scherzi Musicali</h2> <p><em>Italian Baroque Music: Monteverdi, Vivaldi, Corbetta, Handel</em></p> <blockquote> <p>“That smile heals me…”</p> </blockquote> <p>Monteverdi’s musical fun – <em>scherzi musicali</em> – and beautiful arias – <em>ariose vaghezze</em> – are offered to the public in music-books printed by Bartholomeo Magni in Venice almost four hundred years ago. These are not madrigals requiring an ensemble of singers, but solo songs with <em>basso continuo</em> accompaniment which could be realised on any instrument: harpsichord, lute, guitar, baroque harp. Composed during the time of the very first ‘operas’, these minatures appeal to the emotions as theatrical fragments, instantly recognisable dramatic scenes.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png"><img data-attachment-id="2966" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/monteverdi-scherzi-musicali-1632-frontispiece/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png" data-orig-size="588,785" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Monteverdi Scherzi Musicali 1632 frontispiece" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png?w=225" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png?w=440" loading="lazy" class="alignnone size-full wp-image-2966" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png" alt="" width="440" height="587" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png?w=440&h=587 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png?w=112&h=150 112w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png?w=225&h=300 225w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/monteverdi-scherzi-musicali-1632-frontispiece.png 588w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h3><em>Affetti</em></h3> <p><br />But that emotionality is subtly different from the Romantic ideal of an artistic genius, expressing with ever-greater intensity a sublime feeling, that will impress and even overwhelm his audience. Rather, Baroque music contrasts ever-changing emotions and seeks to move <span style="text-decoration:underline;">your</span> passions, as La Musica proclaims in Monteverdi’s <em>Orfeo</em>:</p> <p style="padding-left:40px;"><br />Accompanied by the golden harp, my singing<br />can always charm mortal ears for a while.<br />And in this way, with the sonorous harmony<br />Of the lyre of the cosmos, I can even move your souls.</p> <p><a href="https://andrewlawrenceking.com/2018/10/15/the-philosophy-of-la-musica/">Read more: The Philosophy of La Musica</a></p> <p><a href="https://andrewlawrenceking.com/2017/05/22/act-with-the-hand-act-with-the-heart-motion-and-e-motion-in-cavalieris-preface-to-anima-corpo/">Read more: contrasts of <em>affetti</em> in the ‘first opera’</a></p> <p><br />The ‘lyre of the cosmos’ represents the mysterious power of music. In metaphors of Cupid’s love-arrows and stormy seas of passion, we see poetic images as depicting real emotions. And no doubt, listeners can find in these verses from Shakespeare’s time words that still speak to us today: <em>sanatemi col riso…</em></p> <blockquote> <p>Heal me with a smile…</p> </blockquote> <p>The renaissance Science of emotions models the Senses (in this case, eyes and ears) taking in the <em>energia </em>(energetic spirit) of a performance (delivered by Rhetorical <em>actio</em>) and the coordinated <em>affetti </em>of music and text (delivered by Rhetorical <em>pronuntiatio</em>), to create ever-changing Visions in the mind. These Visions send <em>energia </em>down into the body, producing the physiological changes associated with changing pyschological emotion. Mind, Body and Spirit exchange <em>energia</em>, so that thoughts, (spiritual) emotions and (physical) feelings are interconnected – ideally, in Harmony.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg"><img data-attachment-id="1534" data-permalink="https://andrewlawrenceking.com/2015/12/12/modus-agendi-or-how-to-act-preliminary-exercises-for-baroque-gesture/renaissance-theory-of-visions/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg" data-orig-size="1754,1240" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Renaissance Theory of Visions" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-1534" src="https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg" alt="" width="440" height="311" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg?w=440&h=311 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg?w=880&h=622 880w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg?w=150&h=106 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg?w=300&h=212 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/renaissance-theory-of-visions-e1449932006760.jpg?w=768&h=543 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h3>Rhetoric: structure & contrasts…</h3> <p>For Monteverdi, an <em>aria</em> is not just a nice tune, it is a repeating structure of poetry, rhythm and harmony, on which words and music make elegant rhetorical variations. The dramatic situation is understood: the poet is in love, the beloved is ‘cruel’; the poet is wounded by the arrows of love, but the beloved’s smile can turn his prison into paradise. The rhetorical appeal is to the mind and the heart, as well as to the ears. The emotional power is embedded in contrasts: in <em>Tempro la cetra</em> the poet tunes his lyre to sing of War, but it only resounds with Love.</p> <p style="padding-left:40px;"><em>Tempro la cetra, e per cantar gli onori</em><br /><em>di Marte alzo talor lo stil e i carmi.</em><br /><em>Ma invan la tento e impossibil parmi</em><br /><em>ch’ella già mai risoni altro ch’amore.</em><br /><br /><em>Così pur tra l’arene e pur tra’ fiori</em><br /><em>note amorose Amor torna a dettarmi,</em><br /><em>né vuol ch’io prend’ ancora a cantar d’armi,</em><br /><em>se non di quelle, ond’egli impiaga i cori.</em><br /><br /><em>Or l’umil plettro e i rozzi accenti indegni,</em><br /><em>musa, qual dianzi, accorda, in fin ch’al canto</em><br /><em>de la tromba sublime il Ciel ti degni.</em></p> <p style="padding-left:40px;"><em>Riedi a i teneri scherzi, e dolce intanto</em><br /><em>lo Dio guerrier, temprando i feri sdegni,</em><br /><em>in grembo a Citerea dorma al tuo canto.</em></p> <p style="padding-left:40px;">I <strong>tune</strong> the lyre, and to sing the honour<br />Of <strong><span style="color:#ffff00;">Mars</span></strong>, now I raise my style and my song.<br />But in vain I <strong>try</strong>, and it seems impossible<br />That it will ever <strong>resound</strong> except with <span style="color:#ff0000;">love</span>.</p> <p style="padding-left:40px;">Thus in the <strong><span style="color:#ffff00;">arena</span> </strong>itself and just amongst <span style="color:#ff0000;">flowers</span><br /><span style="color:#ff0000;">Amorous</span> notes <span style="color:#ff0000;">Love</span> returns to dictate to me.<br />And does not want me to start to sing of <strong><span style="color:#f5f507;">arms </span></strong>again,<br />Unless of those, with which <span style="color:#ff0000;">Cupid </span>wounds <span style="color:#ff0000;">hearts</span>.</p> <p style="padding-left:40px;">Now, the humble plectrum and the unworthy, broken accents<br />Muse, as before, <strong>tune</strong> them, so that to the song<br />Of the sublime trumpet Heaven honours you.</p> <p style="padding-left:40px;">Come back to <span style="color:#ff0000;">tender games</span>, and <span style="color:#ff0000;">sweetly </span>for a while<br />The <strong><span style="color:#f5f507;">warrior God</span></strong>, <strong>tempering</strong> his <strong><span style="color:#f5f507;">fierce anger</span></strong>,<br />In the <span style="color:#ff0000;">lap of Venus</span> will be lulled to <span style="color:#008000;">sleep </span>by your song.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png"><img data-attachment-id="1888" data-permalink="https://andrewlawrenceking.com/2017/08/31/emotions-in-early-opera/the-four-humours/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png" data-orig-size="480,360" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="The Four Humours" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=440" loading="lazy" class="alignnone size-full wp-image-1888" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png" alt="" width="440" height="330" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=440&h=330 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=150&h=113 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=300&h=225 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png 480w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Contrasts of <em>affetti </em>were categorised by the renaissance concept of the Four Humours: Sanguine (love, courage, hope), Choleric (anger, desire), Melancholy (careful thought), Phlegmatic (unemotional). Throughout this poem, Sanguine <span style="color:#ff0000;">love </span>is contrasted with Choleric <strong><span style="color:#ffff00;">war</span></strong>. Ideally one’s humours would be balanced, <strong>tempered</strong>. Poetic and musical composition are usually characterised as works of the careful (and care-full) concentrated inward thought processes of Melancholy, whereas performance, directed outward, is often Sanguine. In this poem the Melancholy art conceals itself – <em>ars celare artem </em>– and in the lap of Sanguine Venus, Choleric Mars surrends to the power of music and is lost in Phlegmatic <span style="color:#008000;">sleep</span>.</p> <p>This piece, and renaissance Philosophy in general, links period medical science (the Four Humours) with metaphysics (the Music of the Spheres), and to the artistic principle of contrasting <em>affetti</em>. The Science of the Music of the Spheres (<em>musica mondana</em>) connected that perfect movement of the heavens with the harmonious nature of the human being (<em>musica</em> humana) , and with actual music (<em>musica instrumentalis</em>) played or sung. The contrasts of the third stanza are of Earth and Heaven: the humble, unworthy accents of <em>musica instrumentalis </em>will finally find accord with the sublime song of the Last Trumpet – <em>musica mondana. <br /><br /></em>Supported by this philosophy, classical mythology is made to work as a metaphor for Christian doctrine. The implication is that the poet/singer himself will also be redeemed, as his own nature (<em>musica humana</em>) ‘resounds’ to the music of the Spheres. <br /> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2018/10/music-of-the-spheres-humana.jpg"><img data-attachment-id="2056" data-permalink="https://andrewlawrenceking.com/2018/10/15/the-philosophy-of-la-musica/music-of-the-spheres-humana/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2018/10/music-of-the-spheres-humana.jpg" data-orig-size="229,220" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Music of the Spheres Humana" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2018/10/music-of-the-spheres-humana.jpg?w=229" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2018/10/music-of-the-spheres-humana.jpg?w=229" loading="lazy" class="alignnone size-full wp-image-2056" src="https://andrewlawrenceking.com/wp-content/uploads/2018/10/music-of-the-spheres-humana.jpg" alt="" width="229" height="220" srcset="https://andrewlawrenceking.com/wp-content/uploads/2018/10/music-of-the-spheres-humana.jpg 229w, https://andrewlawrenceking.com/wp-content/uploads/2018/10/music-of-the-spheres-humana.jpg?w=150&h=144 150w" sizes="(max-width: 229px) 100vw, 229px" /></a></p> <p style="padding-left:40px;"> </p> <h3>…for mind (<em>docere</em>)</h3> <p><em>Ohimè, ch’io cado</em> begins with a firmly constructed ‘walking bass’, but the singer crashes in with a downward plunge: the poet has fallen head-over-heels in love, just when everything seemed to be safe. Images and emotions are presented in clever contrasts: ‘the withered flower of fallen hope’ and ‘the water of fresh tears’; the ‘would-be warrior’ is ‘now a coward’ who cannot withstand ‘the gentle impact of a single glance’. The poet’s attempt at Choleric <em>sdegno </em>(anger) is easily diverted to a Sanguine love-paradise.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg"><img data-attachment-id="2990" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/knight-in-armour/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg" data-orig-size="487,700" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Knight in armour" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg?w=209" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-2990" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg" alt="" width="440" height="632" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg?w=440&h=632 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg?w=104&h=150 104w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg?w=209&h=300 209w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/knight-in-armour.jpg 487w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <h3> </h3> <h3>… heart (<em>movere</em>)</h3> <p>Over a descending bass-line, <em>Si dolce ‘l tormento</em> juxtaposes contrasts even more closely, to sway the listener’s emotions line by line: sweet torment, happy, cruel, beauty, ferocity, mercy, a wave-swept rock – all this in the first strophe alone! As the momentary <em>affetti </em>swirl around, the minor mode, tender dissonances and descending bass communicate a pervasive sense of Melancholy.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/melancholy-elizabethan.jpg"><img data-attachment-id="2992" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/melancholy-elizabethan/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/melancholy-elizabethan.jpg" data-orig-size="382,500" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Melancholy Elizabethan" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/melancholy-elizabethan.jpg?w=229" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/melancholy-elizabethan.jpg?w=382" loading="lazy" class="alignnone size-full wp-image-2992" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/melancholy-elizabethan.jpg" alt="" width="382" height="500" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/melancholy-elizabethan.jpg 382w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/melancholy-elizabethan.jpg?w=115&h=150 115w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/melancholy-elizabethan.jpg?w=229&h=300 229w" sizes="(max-width: 382px) 100vw, 382px" /></a></p> <h3> </h3> <h3>…and ears (<em>delectare</em>)</h3> <p>That glance from the lover’s eyes – <em>Quel sguardo sdegnosetto</em> – is no real threat: we might paraphrase the first line as “You’re so cute when you’re angry!” And the bass-line variations on the ciacona dance reveals that the lovers are fooling around, playing risqué party-games: “When I die, your lips will quickly revive me”.</p> <p>In this song, contrasts of <em>affetti </em>are perhaps less cerebral, less melancholic, but rather charming and delightful, and the pervasive mood is Sanguine. There is little doubt that the poet is confident that his hopes of love will be enjoyed!</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg"><img data-attachment-id="2998" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/boticelli-venus-small/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg" data-orig-size="1280,804" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Boticelli Venus small" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-2998" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg" alt="" width="440" height="276" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg?w=440&h=276 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg?w=880&h=552 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg?w=150&h=94 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg?w=300&h=188 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/boticelli-venus-small.jpg?w=768&h=482 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <h3> </h3> <h3>Come Hell or High Water</h3> <p> </p> <div data-shortcode="caption" id="attachment_2968" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg"><img aria-describedby="caption-attachment-2968" data-attachment-id="2968" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/dante-inferno-anger/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg" data-orig-size="537,356" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dante Inferno Anger" data-image-description="" data-image-caption="<p>Fury in the Fifth Circle of Dante’s Inferno</p> " data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg?w=440" loading="lazy" class="size-full wp-image-2968" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg" alt="" width="440" height="292" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg?w=440&h=292 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg?w=150&h=99 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg?w=300&h=199 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dante-inferno-anger.jpg 537w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-2968" class="wp-caption-text">Fury in the Fifth Circle of Dante’s Inferno</p></div> <p> </p> <p>Baroque contrasts can be extreme: In the <em>Ballo delle Ingrate</em> women emerge from the ‘wild, hot prison’ of Hell, to take a brief respite in the ‘serene, pure air’ of the upper world.</p> <p>The <em>furore</em> of divine anger provides an excuse for Vivaldi’s favourite seasonal storms, tempered by the calm of clemency, but returning with the delicious inevitability and ornamental surprises of the Da Capo Aria. A Recitative makes it personal: “Spare me, sad and languishing”. The central Aria, with its contrasts of <em>fletus… laetus</em> (weeping… happy), corresponds to the slow movement of a violin concerto, with an <em>Alleluia</em> as the virtuosic finale.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png"><img data-attachment-id="2971" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/stradavarius-fb-banner/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png" data-orig-size="3099,1179" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Stradavarius FB Banner" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png?w=440" loading="lazy" class="alignnone size-full wp-image-2971" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png" alt="" width="440" height="167" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png?w=440&h=167 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png?w=878&h=334 878w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png?w=150&h=57 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png?w=300&h=114 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/stradavarius-fb-banner.png?w=768&h=292 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p><br />The instrumental compositions that follow are variations on descending bass-lines. The fun of Corbetta’s <em>Caprice</em>, played on a modern copy of the Stradivarius Harp (1681, the year of Corbetta’s death) <a href="https://www.facebook.com/StradHarp/">more about Rainer Thurau’s Strad Harp here</a>, lies in its contrast of the gentle nobility of the French <em>chaconne</em> with the more energetic celebrations of an Italian <em>ciacona</em>.</p> <p> </p> <div data-shortcode="caption" id="attachment_2978" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg"><img aria-describedby="caption-attachment-2978" data-attachment-id="2978" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/handels-organ-whitchurch/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg" data-orig-size="914,1200" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"Photo Credit:","camera":"","caption":"; Handel's Organ, Whitchurch; Bushey Museum and Art Gallery; http:\/\/www.artuk.org\/artworks\/handels-organ-whitchurch-239113","created_timestamp":"0","copyright":"Copyright information and licence terms for this image can be found on the Art UK website at http:\/\/www.artuk.org\/artworks\/23911","focal_length":"0","iso":"0","shutter_speed":"0","title":"; Handel's Organ, Whitchurch","orientation":"0"}" data-image-title="; Handel’s Organ, Whitchurch" data-image-description="" data-image-caption="<p>; Handel’s Organ, Whitchurch; Bushey Museum and Art Gallery; http://www.artuk.org/artworks/handels-organ-whitchurch-239113</p> " data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg?w=229" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg?w=440" loading="lazy" class="size-full wp-image-2978" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg" alt="" width="440" height="578" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg?w=440&h=578 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg?w=880&h=1156 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg?w=114&h=150 114w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg?w=229&h=300 229w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/handels-organ.jpg?w=768&h=1008 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-2978" class="wp-caption-text">Handel’s Organ, Whitchurch; Bushey Museum and Art Gallery;</p></div> <p> </p> <p>Handel’s <em>Andante</em>, with its variations on a walking-bass, was published posthumously as an <em>Organ Concerto</em>. A Baroque listener described how the composer would improvise an introduction to the concerto, with a polyphonic fantasia “which stole on the ear in a slow and solemn progression.”<br /><br /></p> <p style="padding-left:40px;">A fine and delicate touch, a volant finger, and a ready delivery of passages the most difficult, are the praise of inferior artists: they were not noticed in Handel, whose excellencies were of a far superior kind; and his amazing command of the instrument, the fullness of his harmony, the grandeur and dignity of his style, the copiousness of his imagination, and the fertility of his invention were qualities that absorbed every inferior attainment.</p> <p style="padding-left:40px;">When he gave a concerto, his method in general was to introduce it with a voluntary movement on the diapasons, which stole on the ear in a slow and solemn progression; the harmony close wrought, and as full as could possibly be expressed; the passage s concatenated with stupendous art, the whole at the same time being perfectly intelligible, and carrying the appearance of great simplicity. This kind of prelude was succeeded by the concerto itself, which he executed with a degree of spirit and firmness that no one ever pretended to equal.</p> <p>Sir John Hawkins <em>General History of the Science and Practice of Music </em>(1776)</p> <p> </p> <div data-shortcode="caption" id="attachment_2170" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg"><img aria-describedby="caption-attachment-2170" data-attachment-id="2170" data-permalink="https://andrewlawrenceking.com/2019/02/12/eternal-hieroglyphs-from-monteverdis-tactus-to-handels-tempo-ordinario/handel/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg" data-orig-size="1503,2223" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Handel" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg?w=203" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg?w=440" loading="lazy" class="wp-image-2170 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg" alt="" width="440" height="651" srcset="https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg?w=440&h=651 440w, https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg?w=880&h=1302 880w, https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg?w=101&h=150 101w, https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg?w=203&h=300 203w, https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg?w=768&h=1136 768w, https://andrewlawrenceking.com/wp-content/uploads/2019/02/handel.jpg?w=692&h=1024 692w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-2170" class="wp-caption-text">Iconographical coding characterises Handel as composer (pen and scores), performer (keyboard) and – unmistakeably – as Melancholy (head leaning on left hand).</p></div> <p><br /><br />Handel’s <em>Messiah</em> and that glorious Aria of Sanguine hope, <em>Rejoice greatly</em>, need no introduction. But in Jennens’ carefully chosen biblical excerpts the characters of the Daughter of Sion and the Heathen are also coded symbols for the politics of the Hannoverian monarchy, of another King who “cometh unto thee”. So whether or not we can identify with the rejoicing daughter, the <em>Messiah</em> offers Peace for those who believe differently.</p> <p> </p> <div data-shortcode="caption" id="attachment_2975" style="width: 410px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/london-18th-century.jpg"><img aria-describedby="caption-attachment-2975" data-attachment-id="2975" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/london-18th-century/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/london-18th-century.jpg" data-orig-size="400,208" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="London 18th century" data-image-description="" data-image-caption="<p>18th-century London</p> " data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/london-18th-century.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/london-18th-century.jpg?w=400" loading="lazy" class="size-full wp-image-2975" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/london-18th-century.jpg" alt="" width="400" height="208" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/london-18th-century.jpg 400w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/london-18th-century.jpg?w=150&h=78 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/london-18th-century.jpg?w=300&h=156 300w" sizes="(max-width: 400px) 100vw, 400px" /></a><p id="caption-attachment-2975" class="wp-caption-text">18th-century London</p></div> <p> </p> <h3>Rhetorical Structure: architecture & building blocks</h3> <p> </p> <p>From Monteverdi’s and Vivaldi’s Venice to Handel’s London, the grand architecture of Baroque music adopted a variety of fashions. But the building blocks remained similar: the sighing slurs of Vivaldi’s calms also create Handel’s peace; bass-lines still walk steadily; a jump in the melodic line always makes the heart leap, whether falling in love with Monteverdi, or rising to rejoice with Handel. And the ancient power of Music’s rhetoric still charms the ears, communicates between minds, and consoles your hearts.</p> <p> </p> <div data-shortcode="caption" id="attachment_2977" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg"><img aria-describedby="caption-attachment-2977" data-attachment-id="2977" data-permalink="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/venice-17th-century/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg" data-orig-size="570,372" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Venice 17th century" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg?w=440" loading="lazy" class="wp-image-2977 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg" alt="" width="440" height="287" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg?w=440&h=287 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg?w=150&h=98 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg?w=300&h=196 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/venice-17th-century.jpg 570w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-2977" class="wp-caption-text">17th-century Venice</p></div> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-2959" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-2959" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/04/19/rhetorical-contrasts-in-crisis/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Rhetorical%20contrasts%20in%20Crisis%3A%20charm%2C%20communicate%2C%20console%3F&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F04%2F19%2Frhetorical-contrasts-in-crisis%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/tag/baroque-music/page/3/" ><span class="meta-nav">←</span> Older posts</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/tag/baroque-music/" >Newer posts <span class="meta-nav">→</span></a></div> </nav> </div> </section> <div id="secondary" class="widget-area" role="complementary"> <aside id="text-4" class="widget widget_text"><h1 class="widget-title">ANDREW LAWRENCE-KING</h1> <div class="textwidget"><p>Baroque opera, orchestral & ensemble director, imaginative continuo-player, Early Harp virtuoso, specialist in baroque gesture & Historical Action, investigator of Flow, Andrew Lawrence-King is the doyen of historical harping, one of the world’s leading performers of Early Music, and an internationally renowned scholar. </p> <p>His pioneering recordings of Trabaci, Ribayaz, Handel and Carolan re-established the lost worlds of Italian, Spanish, Anglo-Welsh & Irish baroque harps; as co-director of Tragicomedia and director of The Harp Consort, he led a revolution in improvisation & continuo-playing; his research into Tactus has redefined our understanding of baroque rhythm; as guest director, he inspires musicians around the world to reach new levels of technical precision and stylish historicity with fun, energy and passion. </p> <p>Andrew has directed at La Scala, Milan & Sydney Opera House and won Russia's highest theatrical award, the Golden Mask (2012) for Cavalieri’s 'Anima & Corpo'. His direction of Handel’s 'Orlando' (2019) won the Russian Eugene Onegin Award and has been nominated for another Golden Mask. During his long collaboration with Jordi Savall, he has won a Grammy (best ensemble 2011), the Spanish Premio de la Música in duet (2010) & trio (2011), and Australia’s Helpmann Award in duet (2013) & ensemble (2018). His recording of 'Earthly Angels' with soprano Kajsa Dahlbäck was YLE, the Finnish broadcasting company’s CD of the year (2018).</p> <p>2017 saw the premieres of Andrew Lawrence-King’s first two operatic compositions: 'Kalevala: the Opera', setting the Finnish national epic to ancient traditional melodies; and 'Arianna a la recherche', a remake of Monteverdi’s lost 1608 masterpiece from Rinucini’s libretto and the surviving musical fragment, the famous Lamento. Andrew’s latest recording traces the roots of favourite Christmas carols from the Finnish 'Piae Cantiones' (1582) with the Helsinki Utopia Choir, released on Jordi Savall’s AliaVox Diversa label (2019).</p> <p>From 2010-2015, Dr Lawrence-King was Senior Visiting Research Fellow for the Australian Centre for the History of Emotions. He is Professor of Early Harp and Continuo at the Guildhall School of Music & Drama, London and Director of Opera Omnia, Academy for Early Opera & Dance, Institute at Moscow State Theatre 'Natalya Sats'. He is currently working on an English translation of 'Il Corago', the anonymous c1630 guide for baroque opera directors. Inspired by 'Peter & the Wolf' and the 'Young Person’s Guide to the Orchestra', his latest operatic composition, 'The Play of Music & Time: an Explorer’s Guide to Early Opera' will be premiered in 2020.</p> <p>Andrew Lawrence-King directs The Harp Consort, combining state-of-the art early music performance with stylish improvisation & entertaining stage presentation; Il Corago, the production team for historical staging of early opera; the International Baroque Opera Studio and Opera Omnia Moscow. </p> <p>Andrew's hobbies include marathon running, sailing, kayaking, fencing (modern epée & historical rapier) and Tai Chi. He is a qualified hypnotist.</p> </div> </aside><aside id="search-3" class="widget widget_search"><h1 class="widget-title">Search this Blog for content</h1><form method="get" id="searchform" action="https://andrewlawrenceking.com/"> <label for="s" class="assistive-text">Search</label> <input type="text" class="field" name="s" id="s" placeholder="Search" /> <input type="submit" class="submit" name="submit" id="searchsubmit" value="Search" /> </form> </aside><aside id="media_gallery-3" class="widget widget_media_gallery"><h1 class="widget-title">Andrew Lawrence-King</h1><p class="jetpack-slideshow-noscript robots-nocontent">This slideshow requires JavaScript.</p><div id="gallery-2959-1-slideshow" class="jetpack-slideshow-window jetpack-slideshow jetpack-slideshow-black" data-trans="fade" data-autostart="1" data-gallery="[{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-with-chromatic-irish-harp.jpg?w=440","id":"1685","title":"ALK with chromatic Irish\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-harp-bordeaux-boat.jpg?w=440","id":"1686","title":"ALK, Irish Harp, Bordeaux\u0026nbsp;boat","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-sheffield.jpg?w=440","id":"1684","title":"ALK sheffield","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-psaltery.jpg?w=247","id":"1683","title":"ALK psaltery","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-lha.jpg?w=440","id":"1676","title":"ALK directs LHA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/alk-peri.jpg?w=440","id":"1579","title":"ALK \u0026amp; 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harp\u0026nbsp;2","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/no-conducting.png?w=240","id":"684","title":"No conducting","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-rovaniemi-orchestra.jpg?w=440","id":"1677","title":"ALK directs Rovaniemi\u0026nbsp;Orchestra","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/thc-20-years-ago-web.jpg?w=440","id":"947","title":"THC-20-years-ago-web","alt":"","caption":"Pat O\u0026#8217;Brien, ALK \u0026amp; other founder-members of The Harp Consort, at the recording sessions of Luz y Norte in 1994.","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/02\/inquartata.jpg?w=340","id":"380","title":"inquartata","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/05\/the-perfect-musical-director-mattheson-by-alk.png?w=440","id":"1657","title":"The Perfect Musical Director Mattheson by\u0026nbsp;ALK","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/thc-logo-2011-with-background.jpg?w=440","id":"13","title":"THC logo 2011 with\u0026nbsp;background","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-in-rehearsal.jpg?w=431","id":"688","title":"ALK in rehearsal","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-with-huete.jpg?w=440","id":"10","title":"alk-with-huete","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-arpanetta.jpg?w=363","id":"1670","title":"ALK \u0026amp; Arpanetta","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/the-theatre-of-dreams.png?w=440","id":"846","title":"The Theatre of\u0026nbsp;Dreams","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs.jpg?w=440","id":"1680","title":"ALK directs","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/introduction-to-single-action-harp.png?w=440","id":"118","title":"Introduction to Single Action\u0026nbsp;Harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/alk-irish-baroque.jpg?w=440","id":"93","title":"ALK Irish baroque","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-st-p-baroque-opera-studio.jpg?w=440","id":"1679","title":"ALK directs St P baroque opera\u0026nbsp;studio","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/lord-of-the-strings.jpg?w=440","id":"1562","title":"Lord of the\u0026nbsp;Strings","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-tra.jpg?w=440","id":"764","title":"ALK TRA","alt":"","caption":"","itemprop":"image"}]" itemscope itemtype="https://schema.org/ImageGallery"></div></aside> <div id="atatags-286348-6748698f628ae"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-286348-6748698f628ae', location: 140, formFactor: '003', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); 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