From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century PDF
Preview From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century
FROM RENAISSANCE TO BAROQUE From Renaissance to Baroque Change ni Instruments dna Instrumental cisuM ni eht Seventeenth Century Proceedings of eht National Early Music Association Conference ,dleh ni asscoiation with the Department of Music, University of kroY dna eht kroY Early Music Festival, ta eht University College of nopiR and York StJohn, York, 2-4 July 9991 Edited by JONATHAN WAINWRIGHT University of York, UK PETER HOLMAN University of Leeds, UK I~ ~~o~;~;n~~:up LONDON AND NEW YORK First published 2005 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 117 Third ,eunevA New ,kroY NY ,71001 USA Routledge si na imprint of the Taylor & Francis ,puorG an amrofiri business Copyright ©Jonathan Wainwright and reteP Holman 5002 Jonathan Wainwright and Peter Holman sah asserted her moral right under the Copyright, Designs and Patents ,tcA ,8891 ot eb identified as eht author of this .krow All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data National ylraE Music Association. Conference ( 9991 : University College of Ripon and kroY StJohn) From Renaissance ot baroque : change ni instruments and instrumental music ni the seventeenth century: proceedings of eht National Early Music Association Conference ,dleh ni association with the Department of Music, University of kroY and the kroY Early Music ,lavitseF ta the University College of Ripon and kroY StJohn. 2-4 July 9991 .I Musical instruments- History- ht71 century- Congresses .2 Instrumental music- ht71 century- History and criticism- Congresses .I Title .11 Wainwright, Jonathan Ill. Holman, ,reteP --6491 .VI University of .kroY Department of Music .V kroY Early Music lavitseF 1.487 '922'09032 Library of Congress Cataloging-in-Publication Data National ylraE Music Association Conference. morF Renaissance to baroque :change ni instruments and instrumental music ni the seventeenth century: proceedings of the National ylraE Music Association Conference held ni association with the Department of Music, University of kroY and the kroY ylraE Music ,lavitseF at eht University College of Ripon and kroY StJohn. ,kroY 2-4 July 9991 I edited yb Jonathan Wainwright and Peter Holman. p.cm. Includes bibliographical references and .xedni NBSI 97R-0-7546-0403-7 (alk. paper) .I Musical instruments~ ht71 century~History-Congresses. .2 Instrumental music~ ht71 century~ History and criticism-Congresses. .1 Wainwright, Jonathan. .II Holman, .reteP 1946- .111 University of .kroY .tpeD of .cisuM .VI kroY Musical .lavitseF .V .eltiT ML467.N 182004 784'.09'032~dc22 2004018342 ISBN 13:978-0-7546-0403-7 (hbk) Publisher’s Note The publisher has gone to great lengths to ensure the quality of this book but points out that some imperfections from the original may be apparent. stnetnoC Preface Vll Acknowledgements lX List of Illustrations X List of Tables and Figure XlV List of Musical Examples XV Notes no the Contributors uvx :noitcudortnI morF 'Renaissance' ot 'Baroque'? Jonathan .P Wainwright 1 Baptiste's Hautbois: ehT sisohpromateM morf mwahS ot yobtuaH ni ,ecnarF 1620-1670 Bruce Haynes 32 2 A Commentary no eht Letter yb lehciM ed aL erraB Concerning eht yrotsiH of settesuM dna syobtuaH Marc Ecochard 74 3 ehT dniwdooW stnemurtsnI of drahciR akaH ( 1645/6-1705) Jan Bouterse 36 4 s1atssaB or :snootruC The hcraeS rof a Transitional Fagott Graham Lyndon-Jones 37 5 ehT Iconographic Background ot eht yrutneC-htneetneveS redroceR Anthony Rowland-Jones 78 6 ehT ecnassianeR etulF ni eht htneetneveS yrutneC Nancy Hadden 311 7 The etulF ta :nedserD snoitacifimaR rof Eighteenth-Century dniwdooW Performance ni Germany Mary 0/eskiewicz 541 8 woH did Seventeenth-Century hsilgnE sniloiV yllaeR ?dnuoS Peter Trevelyan 761 VI From Renaissance to Baroque 9 The Development of French Lute Style 1600-1650 Matthew Spring 371 01 The Early Air ed ,ruoC eht Theorbo, dna the Continuo Principle ni France Jonathan LeCocq 191 11 From Stops Organical ot spotS of :yteiraV The English Organ morf 0361 ot 0371 Dominic nnyr1G 112 21 Upgrad imnogr f Consorts ot Orchestra ta the Wiirttemberg Court Samantha Owens 722 31 From Violin Band ot Orchestra Peter Holman 142 41 Organological Gruyere Jeremy Montagu 952 Workshop Reports .S.J Bach's Actus :sucigart 'Gottes Zeit ist die allerbeste Zeit' VWB( )601 Andrew Parrott 962 2 The French Baroque :artsehcrO ,ylluL Charpentier, Couperin Graham Sadler 172 Bibliography 572 Index 503 Preface The syasse ni siht emulov era sgnikrower of srepap presented ta eht lanoitaN Early cisuM Association conference ,dleh ni association htiw eht Department of ,cisuM University of York dna eht kroY ylraE cisuM ,lavitseF ta the University College of Ripon dna York tS John, ni York no 2-4 ,yluJ 1999- together htiw owt short stroper no performance spohskrow taht koot place during eht .ecnerefnoc tahT eht volume sah dah a noitatseg period of evif sraey si na embarrassment ot eht srotide (both of mohw esu eht well-used but dilav esucxe of eht pressures of combining cimedaca dna performing careers), dna ti si therefore yrassecen ot knaht eht srotubirtnoc (particularly those ohw deilppus their syasse promptly dna dealt htiw our lairotide queries efficiently) dna the publisher rof keeping htiaf htiw eht .tcejorp eW ,era ,revewoh confident taht eht volume si worth eht !tiaw Historians of instruments dna latnemurtsni cisum evah gnol recognized taht ereht saw a period of dnuoforp change ni eht seventeenth ,yrutnec nehw eht consorts or seilimaf of instruments developed gnirud eht Renaissance were decalper by eht wen sledom of eht Baroque .doirep Yet eht process si llits poorly understood, ni part because hcae instrument sah traditionally neeb considered ni isolation, dna changes ni ngised evah ylerar been detaler ot changes ni eht way stnemurtsni were ,desu or what yeht .deyalp The mia of eht lanoitaN Early cisuM Association conference saw ot bring stsilaiceps ni particular instruments together with esoht detseretni ni hcus scipot sa eht early history of eht orchestra, ,yhpargonoci pitch dna continuo .ecitcarp The conference, ,revewoh saw ton just dednetta yb instrument srekam dna academics ohw dah na interest ni achieving a better understanding of eht ,ssecorp rof eht conference desiar questions taht yna historically-aware performer ought ot eb gniksa about eht performance of Baroque .cisum What stros of instruments should eb ?desu tA what pitch? nI hcihw temperament? nI tahw srebmun and/or combinations? For siht reason performers attended eht conference dna workshops, demonstrations dna concerts were lla part of eht .emmargorp The essays ni siht book - although wide-ranging ni epocs - ,tonnac of ,esruoc epoh ot be .evisulcni-lla It saw not possible, rof example, ot cover every instrument dna eht erutan of hcus conferences si taht sa ynam questions era raised sa .derewsna Inevitably ereht era some llams duplications between :sretpahc eht editors have ton attempted ot evomer eseht sa eht distinct sehcaorppa dna occasional differences of opinion era considered .elbaulav There si on ,tbuod ,revewoh that eht bringing together iiiv From Renaissance ot Baroque of instrument makers, performers dna academics ta eht York conference has del ot an important wen perspective no eht fascinating period of change morf Renaissance ot .euqoraB Jonathan Wainwright Peter Holman Pitch notation The system desu si a version of Helmholtz's: middle C si ,'c htiw octaves above sa c", c"', .cte dna octaves below sa ,c ,C ,'C ,"C .cte Octaves era reckoned morf C upwards. cilatI epyt si desu rof specific .sehctip Acknowledgements The editors and the authors acknowledge with gratitude the help and co operation of various bodies and individuals ni the course of preparing this volume: Andrew Jones for preparing the musical examples. Andreas Wiese rof permission ot reproduce his photograph as Illustration .2.11 Martin Goetze for permission ot reproduce his drawing as Illustration .11 .I Tom Haartsen for permission ot reproduce his photograph as Illustration .6.5 The Musee des Beaux Arts, Lyon for permission ot reproduce Illustration .9.5 The Bibliotheque Nationale, Paris for permission ot reproduce Illustration .2.01 The Musee National du Chateau de Versailles for permission ot reproduce Illustration .7.1 The Staatliche Kunstsammlungen, Kassel for permission ot reproduce Illustration .1.5 The Staatl. Museum, Schwerin for permission ot reproduce Illustration .8.1 The Rijksmuseum, Amsterdam for permission to reproduce Illustration .4.5 The Noortman Gallery, Maastricht and London for permission to reproduce Illustration 5.5. Gemeente Musea Delft, collection Stedelijk, Museum Het Prinsenhof for permission ot reproduce Illustration .6.5 The Palazzo Pitti, Florence for permission to reproduce Illustrations 4.1 and .5.1 The Museo Borgogna, Vercelli for permission to reproduce Illustration .3.5 The Bodleian Library, Oxford for permission ot reproduce Illustration .3.01 The Trustees of the National Gallery for permission to reproduce Illustrations 5.2 and 1.5 .0 The Music Department ta the University of York for a grant towards the music setting. Oxford University Press for permission to use tables and examples ni Chapter 9 that first appeared ni .M Spring, ehT etuL ni niatirB (OUP, 2001).
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