The Interpretation of the Music of the Seventeenth and Eighteenth Centuries

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THE INTERPRETATION OF THE MUSIC OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES attempts to understand thoroughly "what the Old Masters felt about their own music, what impressions they wished to convey, and, generally, what was the Spirit of their Art." It is essentially a practical book whose aim is to discover, as nearly as possible, how Baroque music was actually played, and to this end the author quotes extensively from all the well-known and most of the less well-known treatises of the period, providing enlightening comments and illuminating conclusions from each quotation.
Originally published in 1915, this book was the first in any language to deal in a comprehensive and scholarly manner with the problems of performing Baroque music. Despite the appearance of later books on the same subject, it remains a standard work, chiefly because it reflects its author's astonishingly diverse talents. ARNOLD DOLMETSCH (1858-1940) was a fine musician, teacher, and researcher. Extremely... Tovább

Fülszöveg

THE INTERPRETATION OF THE MUSIC OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES attempts to understand thoroughly "what the Old Masters felt about their own music, what impressions they wished to convey, and, generally, what was the Spirit of their Art." It is essentially a practical book whose aim is to discover, as nearly as possible, how Baroque music was actually played, and to this end the author quotes extensively from all the well-known and most of the less well-known treatises of the period, providing enlightening comments and illuminating conclusions from each quotation.
Originally published in 1915, this book was the first in any language to deal in a comprehensive and scholarly manner with the problems of performing Baroque music. Despite the appearance of later books on the same subject, it remains a standard work, chiefly because it reflects its author's astonishingly diverse talents. ARNOLD DOLMETSCH (1858-1940) was a fine musician, teacher, and researcher. Extremely gifted in performing on and making many of the instruments common in the Baroque period, he played an important part in the revival of interest in Baroque music that began in the early twentieth century.
Among the topics the book studies are tempo, rhythm, ornamentation, figured basses, position and fingering, and musical instruments of the period. But it is more than a text on Baroque performance practices. For specialist and general reader alike it offers glimpses of what music meant—as both an art and a science—to musicians of the Baroque era. A new Introduction by R. ALEC HARMAN, professor of music at the University of Washington, explains the significance of the book and evaluates it from the perspective ot the present. Vissza