When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.

Le répertoire original pour harpe est relativement restreint. Deux voies permettent de concourir à son accroissement : la création contemporaine d’une part, et la transcription d’autre part. La présente étude interroge le rapport entre les habitus anciens et une pratique actuelle de transcription, depuis le répertoire de clavecin français du XVIIIe siècle vers la harpe. La transcription est ici considérée comme une pratique non notée qui relève de l’interprétation, et qui partage avec celle-ci, comme avec la traduction, des problématiques fondamentales en apparence antinomiques : esprit et lettre, idiomatisme et fidélité. Elle confronte l’interprète à ses propres limites ainsi qu’à celles de son instrument, et favorise la rencontre avec l’altérité d’une écriture dépourvue de gestes familiers. La transcription constitue l’un des moyens privilégiés de compréhension du répertoire transcrit, de l’instrument de destination, et du rapport de l’interprète à son instrument. La transcription du répertoire de clavecin français pour harpe sera envisagée tout d’abord sous un angle historique, puis à travers les interrogations de nature esthétique que suscite l’antagonisme entre idiomatisme et fidélité, enfin la question des limites et impossibilités sera interrogée selon une approche technique et pratique. / The original harp repertoire is rather limited. It seems there are two efficient ways to help its increase : contemporary creation on the one hand, and transcription on the other. This study questions the relation between early music and a current way of transcribing for harp the eighteenth century french harpischord repertoire. Transcription is here considered as an unwritten practice that comes close to interpretation, and like interpretation and translation, it faces fundamental issues which seem paradoxical : spirit and letter, idiomatism and fidelity. Transcription forces the performer to face his own limits as well as his intrument’s, and it favours the encounter with the otherness of a writing that is free of any familiar gesture. Transcription is one of the best ways to comprehend the transcribed repertoire, the instrument the piece is being transcribed for, and the relationship the performer has with his instrument. The transcription for harp of the eighteenth century french harpischord repertoire will be examined first under a historic angle, then, with esthetic concerns raised by the paradox between idiomatism and fidelity, and finally, the issue of the limits and impossibilities will be studied from a technical and practical approach.

Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity. This study will explore in some detail how Bach transforms these solo keyboard pieces into a three movement concerto for three concertino instruments and ripieno. As is the case with most of Bach's instrumental works, the question of where BWV 1044 fits within the chronology of Bach's works is unclear. This paper will attempt a reliable date of composition for this concerto by combining a variety of methods including source study and comparative formal analysis. / Arts, Faculty of / Music, School of / Graduate

Orientador: Edmundo Pacheco Hora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T17:22:13Z (GMT). No. of bitstreams: 1 Pavan_BeatrizCarneiro_D.pdf: 10044075 bytes, checksum: 5d5a48f2f07aaa9db8e8cfcb24373bfc (MD5) Previous issue date: 2015 / Resumo: Este trabalho mostra como características vindas do discurso oratório francês do século XVIII encontram equivalência na obra para cravo de François Couperin, contida nos Quatre Livres de Pièces de Clavecin. Consolidando a ideia de que a busca por conformidade entre língua falada e música esteve presente durante o período musical barroco, entende-se que características comuns a estas duas formas de expressão encontram similitudes. Desta maneira, para embasar esta tese foram estudadas fontes do século XVIII que versam sobre língua francesa e suas características oratórias com a intenção de mostrar aspectos relevantes do discurso oratório francês dos anos Setecentos que pudessem ser comparados à escrita musical de Couperin. Como base teórica foi utilizada a obra The Harmonic Orator (2001) de Patrícia Ranum, que trata do fraseado e retórica em Árias Barrocas francesas. A partir de pesquisa histórica da Europa ocidental, centrada na França e da atuação da família Couperin na Igreja Saint-Gervais e no Palácio de Versailles, verificaram-se aspectos relevantes formadores do estilo de composição e interpretação cravísticos. Assim, se reafirma a necessidade, vinda da prática de interpretação da música em instrumentos originais ou cópias, de se estudar as maneiras interpretativas para atender às características específicas de cada época e nação. Confirmando a estreita relação entre língua falada e expressão musical, tornou-se apropriado pesquisar as variações linguísticas que resultaram em várias formas de composição e interpretação. Confirma-se portanto, que a música para cravo de Couperin exige do instrumentista conhecimento linguístico para adequada execução do discurso musical e qualquer atitude por parte de um intérprete que pretenda transmitir o pensamento ou emoção, com certa fidelidade, requer conhecimento das fontes do período, no intúito de se tornar claro o pensamento do compositor / Abstract: This paper shows how characteristics from the XVII century French oratory speech find their equivalence in François Couperin¿s work, contained in Quatre Livres de Pièces de Clavecin. Consolidating the idea that the search for conformity between the spoken language and music has been present during the baroque music period, it is understood that common characteristics to these two forms of expression find similarities in each other. This way, to make the base of this thesis, XVIII century sources about French language and its oratorical features were studied to show relevant aspects of the French oratorical speech of this century that could be compared to Couperin musical writing. As a theoretical base it was used "The Harmonic Orator" (2001) by Patricia Ranum, a work about the phrasing and rhetoric in French Baroque Arias. From historical researches of Western Europe centered in France and performance of Couperin family in the Saint-Gervais¿ Church and the Palace of Versailles, there were verified relevant aspects that formed harpsichordist composition and interpretation style. Thus, need reaffirmed, from the interpretation practice of music on original instruments or copies, to study the interpretative ways to meet the specific features of every age and nation. Confirming the close relation between spoken and musical expression, it became appropriate to research the linguistic variations that resulted in many forms of composition and interpretation. It is confirmed so, that Couperin¿s harpsichord music requires from the performer linguistic knowledge for proper execution of the musical discourse and any action by an interpreter wishing to transmit thought or emotion, with some fidelity, requires knowledge of the sources of the period, in order to clarify the thinking of the composer / Doutorado / Praticas Interpretativas / Doutora em Música

abstract: Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B. / Dissertation/Thesis / Doctoral Dissertation Music 2019

The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.

In my master's thesis I will focus on the harpsichord. This instrument is usually classified as a baroque instrument, but in Bohemia the harpsichord experienced its greatest prosperity in Classicism. I will focus on the characteristics of the instrument and differences between the harpsichord and the piano. I will also try to characterize the classical work for harpsichord, the form of a classical solo concerto and the specifics of the interpretation of compositions on harpsichord and piano. Than I will examine the work for harpsichord by Jan Křtitel Vaňhal, put the composition in the context of the author's concert work and determine the diferences between the concerto for harpsichord and the piano concerto in Classicism in Bohemia. Finally, I will comment on the new complete score of Jan Křtitel Vaňhal's Harpsichord Concerto in C major, which I will compare with his Piano Concerto in A major. I also want to create a theoretical basis for the attached new completation of full score of Concerto in C major by J. K. Vaňhal. KEYWORDS Harpsichord, Fortepiano, Jan Křtitel Vaňhal, solo concert, classical period

This dissertation investigates how historical musicians’ relationships to harmonic or contrapuntal rules intersected with their individual and collective experiences of fully improvised or improvisatory music. Within the realm of interpersonal relationships, musicians experience and develop powerful mental and artistic bonds through improvisation. Deep levels of sympathy and communication were documented in the seventeenth and eighteenth centuries, within the cultural contexts of Bernardo Pasquini (1637–1710), Carl Philipp Emanuel Bach (1714–1788), and Christopher Simpson (1602–1669), the three musicians I focus on in this study. In the arena of harmonic rules and parameters, I contend that what appears to be “rule-breaking,” when it shows up on paper can instead be viewed as a frozen-in-time representation of the type of liberties that may have been commonplace in seventeenth- and eighteenth-century improvisation. Improvisers in this era seem to have been more concerned imparting a large-scale sense of harmony and producing engaging melodic variety than with compliance to the most formal rules of counterpoint. Through studying surviving documentation of historical improvisation, I show how its spirit can suffuse formal composition. By shifting focus from fine points of historical musical style to a discussion of generalized artistic and conceptual concerns around improvisation, I suggest that modern day musicians can discover how they themselves relate to baroque works that demand performers’ agency and creativity. My approach aims to suggest ways in which performers today can apply lessons from the past in modern interpretations of improvisation-based baroque music. / Music Performance

This study seeks to examine the history of the ricercare, specifically in the baroque era. In this work, all types of keyboard compositions that utilize imitative counterpoint have been examined. Late baroque fugues have been examined to determine which characteristics of the earlier ricercare remained in general use and which specific compositions contain elements causing them to resemble strongly the parent form.