Ornaments for Corelli's Violin Sonatas, op.5

Zaslaw, Neal

doi:10.1093/earlyj/xxiv.1.95

Cited by 3 publications

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“…Generations of violinists were brought up on the collection, which was printed more times than any other volume of instrumental music during the eighteenth century. 40 Burney called it a 'classical book for forming the hand of a young practitioner on the violin [that] has ever been regarded as a most useful and valuable work by the greatest masters of that instrument' -no less than the basis 'on which all good schools for the violin have been since founded'. 41 He reported that Giuseppe Tartini 'refused to teach any other music to his disciples, till they had studied the Opera quinta, or Solo's, of Corelli'.…”

Section: A M a L L E A B L E M On Um E N Tmentioning

confidence: 99%

William McGibbon and the Vernacularization of Corelli's Music

Chisholm

2018

Eighteenth Century Music

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In his 1720 poem ‘To the Musick Club’ Allan Ramsay famously called upon an incipient Edinburgh Musical Society to elevate Scottish vernacular music by mixing it with ‘Correlli's soft Italian Song’, a metonym for pan-European art music. The Society's ensuing role in the gentrification of Scottish music – and the status of the blended music within the wider contexts of the Scottish Enlightenment and the forging of Scottish national identity – has received attention in recent scholarship. This article approaches the commingling of vernacular and pan-European music from an alternative perspective, focusing on the assimilation of Italian music, particularly the works of Arcangelo Corelli, into popular, quasi-oral traditions of instrumental music in Scotland and beyond. The case of ‘Mr Cosgill's Delight’, a popular tune derived from a gavotte from Corelli's Sonate da camera a tre, Op. 2, is presented as an illustration of this process. The mechanics of vernacularization are further explored through a cache of ornaments for Corelli's Sonate per violino e violone o cimbalo, Op. 5, by the Scottish professional violinists William McGibbon and Charles McLean. The study foregrounds the agency of working musicians dually immersed in elite and popular musical traditions, while shedding new light on McGibbon's significance as an early dual master of Italian and Scots string-playing traditions.

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Section: A M a L L E A B L E M On Um E N Tmentioning

confidence: 99%

William McGibbon and the Vernacularization of Corelli's Music

Chisholm

2018

Eighteenth Century Music

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“…Conforme vimos, Corelli, o "Orfeu romano," foi consagrado por italianos e estrangeiros de todo século XVIII como autocritas do modelo italiano. No próximo capítulo, nos debruçaremos sobre a prática interpretativa da ornamentação livre, um dos aspectos mais imitados de sua arte, conforme revela o artigo de Zaslaw (1996), para assim desenvolver, a partir deste importante referencial, uma proposta de estudo dos problemas apresentados na introdução.…”

Section: Corelliunclassified

“…Uma pessoa dotada musicalmente, com bons poderes interpretativos jamais irá tocar da mesma maneira, mas sempre fará modificações de acordo com o estado de seus sentimentos (WEITZLER 58 , 1756, apud RÓNAI, 2008. ZASLAW (1996) também enfatiza esse argumento:…”

Section: Os Principais Tratados Levantadosunclassified