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The Interpretation of the Music of the 17th and 18th Centuries (Dover Books on Music), by Arnold Dolmetsch
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One of the most influential figures in the twentieth-century revival of early music, Arnold Dolmetsch (1858–1940) was the first to apply academic attention to the issue of authentic historical performance. His groundbreaking study, The Interpretation of the Music of the 17th and 18th Centuries, first appeared in 1915 and remains a landmark of musicology.
An outstanding musician, teacher, and maker of Baroque-style instruments, Dolmetsch sought the correct interpretation of Baroque music in order to heighten its expressive intent and emotional impact. In this study, he quotes extensively from both familiar and lesser-known treatises of the seventeenth and eighteenth centuries, adding enlightening comments to each quotation and providing illuminating conclusions. Topics include tempo, rhythm, ornamentation, figured bass realization, wrist positioning, and fingering, and musical instruments of the period.
A rare appendix of musical examples, originally published separately, appears in this new edition of the first book to address in a comprehensive and scholarly manner the problems of performing Baroque music. More than a text on performance practices, this classic offers glimpses of what Baroque music meant—both as an art and a science—to musicians of the era.
- Sales Rank: #654053 in Books
- Brand: Dover Publications
- Model: 06-442756
- Published on: 2005-04-01
- Released on: 2005-04-01
- Original language: English
- Number of items: 1
- Dimensions: 8.40" h x 1.10" w x 5.40" l, 1.24 pounds
- Binding: Paperback
- 528 pages
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Performing Earlier Music
By Stephen Reilly
Many musicians and scholars have tried to determine how early instrumental music was actually performed. One person, Arnold Dolmetsch, used a novel idea to discover how music of the 17th and 18th centuries could be performed with at least some authenticity. He realized that since every musician was a performer, teacher and composer, and every musician wrote manuals describing how to play various instruments, he would only need to visit various libraries and other storehouses of old music to gain the materials he would need to further his quest.
By examining countless manuals written by teachers for their students, Dolmetsch discovered that there was a certain way to perform a trill, an appogiatura, a turn, etc., and that in many cases there was almost complete agreement on how to play these "graces" over a certain period of time. Furthermore, he immediately found that performance practices of his time (the nineteenth century) had changed.
As a result of his scholarly research, as demonstrated in his book, The Interpretation of Music of the17th and 18th Centuries, anyone can gain
a better idea of how the music of those centuries was actually performed. A completely "new" approach to the baroque and classical eras had been uncovered.
Meanwhile, there is still some unrest on the part of traditionalists who want to use 19th century performance practices. As far as this listener is concerned, it's up to the individual performer to decide: Do you want to stick to today's contemporary practices, or do you want to hew as closely as possible to the older, but more correct way of playing? Without this book, you'll never be able to determine which way is best.
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