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Author Archives: Danielle Rosaria Cummins
Quote for the Day
“These extraordinary emotions are indeed most easily excited when accompanied with words; and I would besides advise, as well the composer as the performer, who is ambitious to inspire his audience, to be first inspired himself; which he cannot fail to be if he chooses a work of genius, if he makes himself thoroughly acquainted with all its beauties; and if while his imagination is warm and glowing he pours the same exalted spirit into his own performance.”
~Geminiani, “The Art of Playing on the Violin”, London 1751, 8.
The Birth of the Baroque Musical Language
Thinking a little deeper about this idea of speech and I realized that this connection was made very early on in the Italian Baroque. One of the earliest operas was “L’Euridice” by Jacopo Peri first performed in Florence in 1600. In the preface of the first edition published that same year, the composer says something so interesting and relevant to our discussion. He says, “(…) I knew likewise that in our speech some words are so intoned that harmony can be based upon them (…). And having in mind those inflections and accents that serve us in our grief, in our joy, and in similar states, I caused the bass to move in time to these, either more or less, following the passions, (…)”(for reference, see note preceding the article). This opera was written right at the birth of the Baroque era duribg a time when music was flourishing in Florence. Here we see the birth of the Baroque musical language, harmonies and melodies based on text and natural human feelings, even based directly on the inflections which we use to communicate our emotions. It is natural then that Geminiani’s music and the music of many other Italian Baroque composers would lend itself so readily to our imaginations once we make this connection of variations in sound, articulation, and phrasing based on speech and emotions.
Note: Jacopo Peri, “Euridice: An Opera in one Act, five Scenes”, Libretto by Ottavio Rinuccini, Recent Researches in Music of the Baroque Era, Vols. XXXVI and XXXVII, edited by Howard Mayer Brown, Madison: A-R Editions, Inc, 1981, translation of Plate II.
Continuing the Conversation
This idea of music and speech is a very fascinating one. It opens the imagination to possibilities that go far beyond notes on a page. Geminiani’s treatise as a whole gives the musician what he or she needs in order to speak a Baroque language with variety in a manner consistent to the style in which his music was originally intended. There are many specific techniques for which one should go directly to the original document, but for our study I would like to continue the pursuit of this idea of a musical conversation.
Under example XVIII, Geminiani lays out, “(…) all the ornaments of expression, necessary to the playing in a good taste.” His explanation of these examples is particularly fascinating and we will no doubt revisit it. For today, here is his explanation of Forte and Piano: “They are both extremely necessary to express the intention of the melody; and as all good music should be composed in imitation of a discourse, these two ornaments are designed to produce the same effects that an orator does by raising and falling his voice.” In my opinion this quote expands the idea of Baroque dynamics from simple terraced volumes into the ever changing levels of sound to be found in good meaningful speech. Yes, in his compositions Geminiani marks forte and piano but infrequently, however to strictly adhere only to these markings would hardly bring about the effect which he so frequently and specifically makes reference to, namely the effect of musical conversation. We must conclude then that we as good human interpreters are encouraged to vary dynamic levels according to the melodic and harmonic construction of the music in order to bring out it’s emotional content. This leaves glorious room for the imagination.
Quote in the Morning
Music is a means to love God, ourselves, and each other, to interact, explore, think, communicate, grow, and to live in joy. Anything else is unnecessary.
~~Danielle Rosaria Cummins (me)
Beautiful Day For A Wedding
We’re setting up for a wedding today. There’s a gorgeous view overlooking Redlands.
Videos Coming in from The Rose’ Trio’s Latest Performances!
Continuing the Discussion About the Voice and the Violin
I was listening to a beautiful recording tonight with Andrew Manze and Rachel Podger playing solo and double concertos by J. S. Bach in a Baroque style (with the Academy of Ancient Music, Andrew Manze, director). It sounded very much like a vibrant discussion between the violins and then between them and the larger ensemble. The differences they were able to achieve and the subtleties in expression brought me into a language that needs no words.
So this brings us back to the discussion about differences, inequalities if you will, in the manner of playing each note and relationship of such a performance practice to speech. I wanted to see if Geminiani specifically makes this distinction, and he does. In his explanation about the close shake he states,
“Men of purblind understandings, and half ideas may perhaps ask, is it possible to give meaning and expression to wood and wire; or to bestow upon them the power of raising and soothing the passions of rational beings? But whenever I hear such a question put, whether for the sake of information, or to convey ridicule, I shall make no difficulty to answer in the affirmative, and without searching over-deeply into the cause, shall think it sufficient to appeal to the effect. Even in common speech a difference of tone gives the same word a different meaning.”
Concert Tonight!
Yes, at 7:00 pm in the Kresge Chapel at the Claremont School of Theology. Dr. Vernon Snyder, piano, Mikko Pablo, cello, and Dr. Danielle Rosaria Cummins, violin. Music by Bach, Massenet, Jarnefelt, and Debussy.
Differences and Communication
Our goal here is to discover ways to think about and play Baroque music in a manner consistent to how the music was intended to be played. Fortunately for us, Geminiani’s statement about how the violin should rival the most perfect human voice gives us many clues into Baroque phrasing and articulation. We could go in several different directions at this point, but there’s a lot made perfectly apparent to us by this statement. By comparing the voice to music there are several concrete things we can put into practice immediately.
One aspect that stands out to me is differences or inequalities. When someone is speaking with emotion, control, and conviction, he or she does not say all the words in the same way or with the same pitch or volume. There is amazing and appropriate variety, each inflection adding depth to the communication. Imagine doing this on the violin. Suddenly all notes have their own character. They don’t need to be the same, in fact they should differ in importance and direction. With this concept, suddenly variety opens up. Now the question will be, how did Baroque musicians do this?
