Renaissance
The objective of this book is to provide young violinists with a short collection of Renaissance music from Italy, France, England and Germany. During the Renaissance, polyphonic music reached its apex and lead to the early foundations of harmony.
Contrary to the Middle Ages, musical notation recognized thirds and sixths as the perfect consonance and thrived on them, which resulted in a radical change in how the notes of the scale were tuned: the Pythagorean system based on perfect fifths turned into meantone temperament, based on major thirds, for tuning fixed pitch instruments.
Instruments developed by family from low to high (soprano).
Technical exercises for violin
1. Melodic exercises from the Renaissance
2. Introducing examples - improvisation
Repertory
1. Haimé, perché m'hai privo (Song and Improvisation with 3 violins)
2. Hélas Madame (3 violins)
3. Pavana del fior (2 violins)
4. Branle du chandelier (2 violins)
5. Nasce la speme mia da un dolce riso (2 violins)
6. The Frog Gaillard (4 violins)
7. Pavane anglaise à 4 voix (4 violins)
8. Branle des chevaux (2 violins)
9. Pavane La bataille (4 violins)
10. Gavottes Terpsichore (5 violins)
11. Doen Daphne d'over schoone (solo violin)
Haimé, perché m'hai privo - Improvisation - Hélas Madame - Pavana del fior - Branle du chandelier - Nasce la speme mia da un dolce riso - The Frog Gaillard - Pavane anglaise à 4 voix - Branle des chevaux - Pavane La bataille - Gavottes Terpsichore - Doen Daphne d'over schoone
Violin in 3 eras
Bright and colourful covers attract attention to this delightful collection. The goal of these albums is to help young violinists discover the roots of their repertoire.
The medieval fiddle was the minstrels' favourite instrument, accompanying songs and dances in the Middle Ages. Low bass to high soprano instruments developed in the Renaissance, along with polyphony, and music flourished throughout Europe.
The baroque style emerged in the early 17th century and through advances in craftsmanship by Amati and Stradivarius, the violin became the favoured melodic instrument. Maica Brandao has preceded her tunes for two, three, four violins and cello continuo with preparatory melodic exercises for each period, bowing practice for rhythmical modes, and improvisation techniques. Canons abound, from Anon. to Playford, Praetorius and Purcell.
In the Baroque album Brandao includes 16 Variations for two violins by Geminiani, as well as his 3 and 4-note arpeggio variations.
All three books are wonderful introductions to early styles that deserve to be played much more.
Mary Nemet
Stringendo
AUSTA (National Journal Reviews Editor)
