By Mary Cyr
Mary Cyr addresses the desires of researchers, performers, and trained listeners who desire to practice wisdom approximately traditionally expert functionality to precise items. certain emphasis is positioned upon the interval from 1680 to 1760, whilst the viol, violin, and violoncello grew to prominence as solo tools in France.
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Additional resources for Style and Performance for Bowed String Instruments in French Baroque Music
Although the size of the solo repertoire for string instruments is vastly larger today than it was in the eighteenth century, early French players nevertheless faced similar issues to those we face today regarding such matters as pitch, stringing, and choice of bows and instruments. At the same time, the confluence of French and Italian styles fuelled a musical controversy whose roots can be traced back to the seventeenth century and which grew stronger during the eighteenth century, culminating in a heated debate during the 1750s between supporters of French and Italian opera called the Guerre des Bouffons.
From the end of the seventeenth century onward, Parisian musicians experienced an unprecedented level of exposure to foreign musical styles and new interpretive approaches that offered them a rich and varied experience. This expanded opportunity was warmly welcomed by some but roundly rejected by others. ”1 Today musicians are accustomed to hearing and performing music representing a wide variety of eras and styles, and the debate that took place during the late seventeenth and eighteenth centuries between supporters of French and Italian musical styles may appear somewhat exaggerated.
2, p. 534, fn. 256. Style and Performance for Bowed String Instruments in French Baroque Music 22 I see individuals among us who wish that our modern composers would Italianize our [French] music. I cannot agree with them for a thousand reasons, such as, among others, because I prefer to have two [separate] musics rather than one. (Je vois des gens parmi nous qui voudraient que nos compositeurs modernes italianisassent notre musique. )16 Brosses’s comments about instrumental music recall some of Raguenet’s observations concerning the variety of dynamic shading, which Brosses calls chiaroscuro.