For music, the baroque style emerged in the early 17th century with the invention of opera in Italy.
Eloquence and theatricality were the principal characteristics of this new style.
For the violin, its elevation in status from a popular Renaissance instrument, to the preferred orchestral instrument, began with the first operas, and lead to advances in craftsmanship, as famous Italian instrument makers, like Amati and Stradivarius, developed the shapes and characteristics that remain the references of excellence to this day.
In France, the Italian born Lully, created the King's group of Twenty-Four Violins to meet the court's needs for dances, ceremonies and the nascent tragédie en musique (the French version of opera).
Throughout Europe, the violin became the favoured melodic instrument.
Technical exercises for violin
1. Melodic exercises from the Baroque period
2. Sixteen variations for bowing
3. 3 and 4 note arpeggios
1. La Mantovana (5 violins)
2. Woodycock (3 violins)
3. Stingo (4 violins)
4. Nobody's Jig (2 violins)
5. Marche pour la cérémonie des Turcs (4 violins)
6. Menuet de Monsieur Jourdain (2 violins)
7. Les sauvages (3 violins)
8. If Love's a Sweet Passion (3 violins)
9. Canon (2 violins)
10. Bist du bei mir (5 violins)
11. Sarabande (4 violins)
12. Fantasia (solo violin)
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.
AUSTA (National Journal Reviews Editor)