An applied grammar for harpsichord sound production

two national schools to understand style in performance

Authors

Keywords:

Applied-grammar, Harpsichord, National style in the eighteenth century

Abstract

This article focuses on the theory applied to performances practices arising from the diffusion of historical knowledge through the treatises of the time, yet combining special elements, namely: score (Les Bergeries F. Couperin) and musical instruments (French and German harpsichords of the eighteenth century).

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Author Biography

Edmundo Hora, University of Campinas (UNICAMP) (Brazil)

PhD in harpsichord from Unicamp, graduated as "Soloist on harpsichord" at the Amsterdam School of Arts and post graduated at the Hogeschool Stichting Amsterdam - Sweelinck Conservatorium (1984 to 1993), oriented by J. Ogg and A. Uittenbosch, having in his final exam, president of the jury, Gustav Leonhardt. Professor and lecturer: Festivals of Londrina PR (1984 to 1991); Old Music Meetings and Music Workshops of Curitiba-PR (1994 to 2002); Colonial Brazilian Music and Old Music of Juiz de Fora-MG (1990 to 2002); Symposium of Musicology of UNIRIO-RJ; I, II, III and IV Latin American Symposium of Musicology of the Cultural Foundation of Curitiba-PR; VI International Sacred Music Festival of Quito - Ecuador 2007; International Symposium of Cognition and Musical Arts SINCAM - UFBA 2007, USP 2008, UFG 2009 and UFRJ 2010; Ancient Music Meetings of Recife/Olinda 2007, 2008, 2009 and 2010. Professor of Harpsichord at the Music Department of the Institute of Arts at Unicamp since 1993, he also works at the Graduate Program in Music at the same University.

References

BACH, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen. Berlim 1753. Leipzig: Breitkopf & Härtel, 1969.

BADURA-SKODA, Paul. Interpreting Bach at the Keyboard. Oxford: Clarendon Press., 2002.

COUPERIN, François. L’Art de toucher le Clavecin Paris, 1716 e 17. Ed. Fac-similar.

FORKEL, Johann Nikolaus. Über Johann Sebastian Bachs Leben, Kunst, und Kunstwerke. Leipzig: 1802. Reimpressão: Kassel: Bärenreiter-Verlag, 1968. Tradução inglesa por David and Mendel.

HAASE, Gesine und Dieter Krickeberg. Tasteninstrumenten. Berlim: Staatliches Institut für Musikforschung, 1981.

JARRY, Madeleine. Chinoiserie. Chinese Influence on European Decorative Art, 17th and 18th Centuries. Translated by Gail Mangold-Vine. New York: The Vendome Press, 1981.

MARPURG, Friedrich Wilhelm. Die Kunst das Clavier zu spielen. Berlim: Houde und Spener. 1755 e 1762. Cópia fac-similar.

NEWMANN, Sidney and Peter WILLIAMS. The Russell Collection of Early Keyboard Instruments. Edinburgh: Edinburgh University Press, 1968.

QUANTZ, Johann Joachim. On Playing the Flute. Translated by Edward R. Reilly. London: Faber and Faber, 1976.

RAMEAU, Jean-Philippe. De la Méchanique des doigts sur le clavecin. Paris, 1724. Ed. Facsimilar.

RASE, Horst & DROYSEN-REBER, Dagmar. Kielklaviere. Berlim: Staatliches Institut für Musikforschung, 1991.

RUSSELL, Raymond. The harpsichord since 1800. In Proceedings of the Royal Musical Association. 1955-6. p.61.

TÜRK, Daniel Gottlob. Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lehrnende. Leipzig: 1798. R. H. Haggh: School of Clavier Playing, University of Nebraska, 1982.

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Published

2011-07-11

How to Cite

Hora, Edmundo. 2011. “An Applied Grammar for Harpsichord Sound Production: Two National Schools to Understand Style in Performance”. Per Musi, no. 24 (July):1-10. https://periodicos.ufmg.br/index.php/permusi/article/view/40464.

Issue

No. 24 (2011): General Topics

Section

Articles in Portuguese/Spanish

License

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This work is licensed under a Creative Commons Attribution 4.0 International License.

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