all Sonatas of J.S. Bach for violin and cembalo obbligato with Alexandra Ivanova
JULY 2017 in TUSCANY, ITALY
I am particularly interested in learning the different possibilities of improvising diminutions on late renaissance vocal music. Diminutions (renaissance embellishments which divide or “diminish” long notes into faster ones) were already flourishing in the earlier renaissance era as a main device of both singers and instrumentalists to improvise or compose embellishments on the given music. In the transition period to the baroque era around 1600 it was still a fundamental part of musicianship and was going to be incorporated more and more also in the written musical score.
There are many treatises to study this subject, such as by Silvestro Ganassi, Girolamo Dalla Casa, Giovanni Bassano, Riccardo and Francesco Rognoni, Giovanni Battista Bovicelli. It is very interesting to see their different personal styles. Here a little example of an improvised version over the soprano part of the motet „Pulchra es, amica mea“ by Palestrina, from a concert in 2015:
LOW VIOLIN POSITION
Another part of my research is focused on the low violin position. Before the new french „conservatoires“ started to standardize the violin posture around 1800 there was apparently a great variety of possible violin postures from one geographic place to another and even from one musician to another in the same place as can be seen in many pictures of the time. Although it is not always so clear for us in what kind of position a certain music was played, it opens new technical possibilities to try out different violin positions. The position against the left breast offers a more natural use of the arm-weight for the right hand, but makes it difficult to change quickly from a high to a low left hand position, and at the beginning it is quite exhausting for the left arm to hold the violin for a longer time. The sound gets naturally louder and fuller without destroying your left ear and leaves still more acoustic space to hear better the musicians playing with you. Moreover I feel better rooted with my whole body and I think this has a good effect on my rhythmic feeling.
FRENCH BOW GRIP
Regarding different playing techniques I am also experimenting with the so-called “early French bow grip” with the thumb under the frog and/or hair of the bow. It was actually not only used by the French violinists but also by many german, austrian and Italian violinists above all in the 17th century, but also later on. Not all bow models are appropriate for this bow grip and at the beginning it is not easy to control it, but once you get used to this bow grip it offers a clearer, rather on-the-string articulation. I find it particularly nice in combination with the low violin position for 17th century French music but also some early baroque italian music.
In order to explore the repertoire of the 16th century with its immense treasure of extraordinary polyphonic music I had made a viola da braccio by the Estonian luthier Roland Suits after a woodcut in the abbazia di Santa Maria di Finalpia in Liguria. To make one more step backwards in the time I bought also a soprano rebec. It is an instrument with arabic and eastern european origins back to the 9th century or even earlier. It was widespread from the 10th to 16th century. Still, in some regions such as in south Italy a kind of rebec survived until our times in traditional folk music.
The next instrument will be a viola d’amore made by Daniel Frisch.