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E-grāmata: Viola da Gamba [Taylor & Francis e-book]

  • Formāts: 392 pages, 3 Tables, black and white; 127 Line drawings, black and white; 110 Halftones, black and white; 240 Illustrations, black and white
  • Izdošanas datums: 11-Nov-2019
  • Izdevniecība: Routledge
  • ISBN-13: 9781315284255
  • Taylor & Francis e-book
  • Cena: 128,96 €*
  • * this price gives unlimited concurrent access for unlimited time
  • Standarta cena: 184,22 €
  • Ietaupiet 30%
  • Formāts: 392 pages, 3 Tables, black and white; 127 Line drawings, black and white; 110 Halftones, black and white; 240 Illustrations, black and white
  • Izdošanas datums: 11-Nov-2019
  • Izdevniecība: Routledge
  • ISBN-13: 9781315284255

The viola da gamba was a central instrument in European music from the late 15th century well into the late 18th. In this comprehensive study, Bettina Hoffmann offers both an introduction to the instrument -- its construction, technique and history -- for the non-specialist, interweaving this information with a wealth of original archival scholarship that experts will relish. The book begins with a description of the instrument, and here Hoffmann grapples with the complexity of various names applied to this and related instruments. Following two chapters on the instrument's construction and ancestry, the core of the book is given to a historical and geographical survey of the instrument from its origins into the classical period. The book closes with a look at the revival of interest in the 19th and 20th centuries.

List of illustrations
viii
Abbreviations xiii
1 Getting acquainted
1(1)
1.1 What exactly is a viol?
1(3)
1.2 What is the viol called?
4(7)
In Italian
4(3)
In German
7(2)
In French
9(1)
In English
10(1)
In Spanish
10(1)
In Greek and Latin
10(1)
1.3 What are the instruments of the viol family?
11(2)
1.4 How is the viol tuned?
13(2)
1.5 What does the viol sound like?
15(10)
2 Anatomy of a viol
25(36)
2.1 The body
26(5)
2.2 The neck and fretboard
31(2)
2.3 The bridge
33(1)
2.4 Decoration
34(1)
2.5 The bow
35(6)
2.6 The strings
41(5)
2.7 Frets and temperaments: problems of compatibility
46(15)
3 Antecedents
61(17)
3.1 Origins
61(1)
3.2 Shapes
62(1)
3.3 Names
63(2)
3.4 Some technical details
65(1)
3.5 Playing positions
66(2)
3.6 Musical and social fields of application
68(2)
3.7 The innovations of the early Renaissance
70(8)
4 Renaissance
78(106)
4.1 Italy, ca 1500
78(8)
The archival sources
78(3)
A technical drawing
81(1)
The iconographic sources
82(3)
Results
85(1)
4.2 A new instrument achieves recognition in Europe (ca 1510-50)
86(19)
Germany
90(11)
Italy 98 Other European countries
101(4)
4.3 Repertoire
105(13)
`To sing, and to play on all kinds of instruments'
105(1)
What?
105(3)
With whom?
108(3)
How?
111(4)
Idiomaticisation and soloism: the viola bastarda
115(3)
4.4 Tunings
118(28)
Pitch and transposition
118(1)
Viol-tunings in 16th-century treatises
119(21)
Consequences
140(4)
The tuning of the viola bastarda
144(2)
4.5 Playing technique
146(7)
4.6 Viol structures and viol makers
153(1)
False witnesses?
153(5)
Details
158(8)
The road to standardisation
166(18)
5 Baroque and classical
184(149)
5.1 Italy
184(1)
The early 17th century
184(6)
After 1640: on the scent
190(1)
Instruments
190(3)
Italian viol music in Italy
193(4)
Miscellaneous theoretical accounts
197(1)
Interchange across the Alps
198(2)
5.2 England
200(1)
The Golden Age (ca 1600-60)
200(6)
The instruments: "Three sorts of Baß-Viols"
206(3)
Timings
209(5)
Sympathetic strings
214(2)
The music: "Three manners of ways in playing"
216(1)
Music for consort viol
217(2)
Music for lyra viol
219(3)
Music for division viol
222(1)
Technique
223(3)
The end of the Golden Age: amateurs and foreigners
226(4)
5.3 France
230(1)
From five to six strings
230(6)
From 6 to 7 strings
236(1)
En famille
237(2)
The querelle
239(2)
The high school of the viol
241(5)
Playing technique
246(10)
Avec la basse?
256(2)
En compagnie
258(2)
Viol construction
260(3)
The decline: the pardessus de viole
263(3)
5.4 The German Empire and the Netherlands
266(1)
Germania monstro simile
266(1)
The viol consort: "Sonderlich mit Violn de Gamba, In mangelung aber de Bracio "
267(2)
The viol consort: instruments, tunings and measures
269(7)
The solo viol: the shaping of an idiom
276(12)
The 18th century
288(4)
Musical functions: the repertoire
292(7)
Instruments and lutherie after ca 1650
299(4)
The final decades
303(30)
6 The revival
333(20)
6.1 Italy in the second half of the 18th century
333(1)
6.2 The first half of the 19th century
334(3)
6.3 The last decades of the 19th century
337(6)
6.4 The 20th century
343(5)
6.5 Today
348(5)
Glossary of technical terms 353(13)
Bibliography 366(18)
Index 384
Bettina Hoffmann is German and lives in Florence where she pursues an active career both as a performer on the viol and baroque cello and as a musicologist. She has given concerts all over Europe and America, participating as a soloist and with her ensemble Modo Antiquo at major festivals and venues. A significant discography (more than 70 CDs for Deutsche Grammophon, Naļve, Brilliant Classics, Tactus and others) is especially notable for Idées grotesques with works by Marin Marais, Scherzi Musicali for viola da gamba by Johann Schenck, and the first complete recording of the works by Diego Ortiz and Silvestro Ganassi. Two CDs of her ensemble Modo Antiquo have been nominated for Grammy Awards. She is the author of the Catalogue of solo and chamber music for viola da gamba (LIM, 2001) and has edited critical facsimile editions of the Regulae Concentuum Partiturae of Georg Muffat and of works for viol and for cello by Antonio Vivaldi and Domenico Gabrielli (Bärenreiter-Verlag, S.P.E.S.). She discovered and edited the only German treatise on the viol currently known to us, Instruction oder eine anweisung auff der Violadigamba. Bettina Hoffmann is professor of viola da gamba, baroque cello, performing praxis and baroque chamber music at the Conservatorio Arrigo Pedrollo di Vicenza and the Scuola di Musica di Fiesole.