By Leopold Mozart
This can be easily a beautiful e-book! it's like having a track lesson from Leopold Mozart. even if i don't play the violin, analyzing and rereading this publication has performed extra to enhance my classical enjoying (woodwinds) than the other unmarried job (except in fact practicing). It additionally offers a completely breathtaking view of Mozart's father's character and musical tastes. this can be a "must" learn for all musicians. I relatively suspect it's the oldest tune guide e-book nonetheless in print!
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Extra info for A Treatise on the Fundamental Principles of Violin Playing (Oxford Early Music Series)
The gentle vein of sensibility which has been discussed in connection with the galant style, the cult of sentiment and of tears as a sign of a lofty spirit, was to adjust itself spontaneously to the more flexible course of comic opera. Here, fluctuating between semiserious, sentimental and larmoyant genres, the contamination grew up between tragedy and comedy that Voltaire had predicted in the preface to his play Nanine (1749) and that the 'bourgeois' theatre of Goldoni, Diderot (in Le fils natwrel of 1757) and Lessing was beginning to show.
Only two sonatas (op. 4) are for keyboard solo; all the others (more than forty) are 'with violin accompaniment', or 'en trio' or 'en quatuor', yet keeping the main role for the harpsichord. This harpsichord, except in special cases, no longer has the miniaturistic sound of Couperin, but is given swift, dry lines, without ornamentation but with octaves, chords, arpeggios and even tremolos, full 'symphonic' textures which foreshadow the crescendos possible on the piano and sometimes give the impression of keyboard transcriptions of pieces conceived orchestrally.
P. E. Bach and the German harpsichordists Of Bach's many sons, four stand out in the history of music: Wilhelm Friedemann, Carl Philipp Emanuel (sons of his first wife Maria Barbara), Johann Cristoph Friedrich and Johann Christian (sons of his second wife Anna Magdalena). At first sight there does not seem to be any great difference between their lives as musicians and the patriarchal habits of their father: they were all church organists and maestri di cappella, and they all earned their living, with varying degrees of distinction, in the conservatism of the German states.