Rhetoric in Music - The Notes tell All

At the Conservatory, many years ago now, I learned from two incredible musicians about rhetoric in music. This was during a special workshop: The Arcadia project.  Musicians: Jos van Immerseel and Jaap  Schröder.  Jos Van Immerseel is a Belgian harpsichordist, pianist and conductor. Jaap Schröder is a Dutch violinist, conductor, and pedagogue.

Ever since that wonderful workshop I have thought about the following: what do the notes tell me? 

Especially in Baroque music I feel the notes tell all.  They tell us the tempo, the expression, the dynamics and articulation.  As that may be seen as a bit much, I still contemplate that notion.  The notes speak to us and of course we can "play" with bowings.  Clearly using certain bow strokes help free the notes and phrases in baroque music and others restrict or "kill" the music.  A strong word perhaps, but many phrases work with down - up bow direction for instance.  Interestingly, I experience the same with fiddling.  The notes are set free...

The notes show direction: going up or down.  Melodic drama comes with huge jumps for instance.  I believe the notes tell us tempo and they function as a guide for our interpretation.  I am sad to notice that oftentimes tempo indications, such as grave are misinterpreted in modern violin performance.  Grave appears less slow in baroque music. When humming or playing a section of the piece, rhetoric as presented by the notes will lead us.  The notes will come to life in an appropriate tempo.  It is so very interesting: it never ceases to give me great pleasure to listen to what the notes tell me.

The Bridge

I am excited to announce the publishing of my book later this year.  It is in the editing stages and a lot is yet to be done, but it has been accepted for publication.  I would like to dedicate my book to George Custer, my fiddle teacher who passed away recently. 

The Bridge discusses the rich music culture of violin playing and of fiddling.  When I first visited the United States in 1990, I noticed the remarkable similarities between violin and fiddle technique.  I noticed some of the similar changes both have seen through time, like baroque violin performance to modern day performance and old time fiddling to bluegrass fiddling and beyond.  The book intertwines my personal findings with a gradual forming of a philosophy regarding violin and fiddle playing and teaching both. 

I too observed the general opinion between fiddlers and violinists alike that violin playing and fiddling are two totally different styles.  Many times I heard how violinists just cannot get the feel…they don’t play with a loose wrist, they play with a blanket of intense vibrato and they have a hard time improvising.  In my book I will address these issues.

I have come to believe we can learn to play both fiddle and violin in the many different styles.  We can teach an all-round approach right from the start.  We need no different instruments – yet we need an appreciation for and understanding of the depth of the styles we aim to play in. 

My research in fiddling from the perspective of a European violinist with a baroque specialization, took place in the early 90s.  I wrote the book around the start of this century and finished writing it in 2009.  Due to life’s circumstances, it took till today to get it closer to publication.  I look forward to the day my book is available to a larger public.

Discussing relaxed violin playing versus playing with greater tension... Baroque performance on a modern instrument

Jaap Schroder writes in his book: Bach's solo violin works - a performer's guide:

" Only flexibility in the bow arm can produce the relaxation of the left hand that is essential in baroque music.  Since the player's arms are naturally connected, freedom of movement on one side can and should be contagious and spread through the body.  From this perspective, the use of a baroque bow will be of immense benefit to the player.  It should have priority over switching to a lower pitch or acquiring gut strings.  The old bow, by its natural way of speaking and dancing, will teach the left hand how to behave."

As this is a section within his book, it may be hard to lift it out of its context.  I am intrigued with this however.  I feel it this way, in my experience.  Jaap Schroder (his name is with dots on the o) in this part of the book discusses the use of vibrato as an ornament and in a relaxed and controlled use.

I have come across a strong opinion among other violinists, that one plays baroque music in a modern style: since we use modern instruments, longer and heavier bows and since we do not use the old baroque instruments and the old tuning.  It is my personal experience that this is - I guess they say - hog wash - as I find one can play baroque music in a relaxed way on a modern pitched and set up instrument, according to the proposed manner by Jaap Schroder.  Using a baroque bow is infinitely helpful.  Its light weight and build facilitates fast, light performance of passages - rhythmic and filled with expression fitting the music.  Using a modern bow, holding the bow a bit higher up on the bow allows for a similar effect.
I believe one can play baroque style on a modern instrument just fine and I have done so for many years.  The music comes to life using a baroque-style approach - even on a modern instrument.

As I am new to blogging this is going to be interesting:

I would like to start with something I read just the other day as I read the book of my teacher at the conservatory in Amsterdam (now many years ago).  The book:

BACH's SOLO VIOLIN WORKS by Jaap Schroder

The quote below attracted my attention - especially when following some interesting other current conversations around Bach.

Anyway, here is the quote I rather like!
(Jaap Schroder:)  "I urge every violinist to "inhale" the spirit of Bach's music as deeply as possible.  Although his solos for the violin do not belong to the category of sacred music, every player must be conscious of the spiritual dimension in this music and never draw attention to the way he or she is mastering its great difficulties.  The well-known dedication Soli Dei Gloria (to the glory of God alone) written by baroque composers at the end of a manuscript may apply equally well, in an equivalent attitude of pride and humility, to the performing artist who places himself at the service of this monumental music."