Some Thoughts on the Performance of Concert Music

Author(s): Robert Bremner

Source: Early Music , Jan., 1979, Vol. 7, No. 1 (Jan., 1979), pp. 48-57
Published by: Oxford University Press

Stable URL: https://www.jstor.org/stable/3126384

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 Some thoughts on the performance of concert music

Introduction Commentary
WHETHER the astonishing effects recorded to have been'Compounded music' is music in parts (polyphony).
produced by music in ancient times, arose from the excel-.
2 Amateurs or dilettantes, as opposed to the 'masters' or
lency of the compositions, the manner in which these were
'professors' (professional musicians) mentioned further on.
performed, or a general want of scientifical knowledge in the
3 Francesco Geminiani, The Art of Playing on the Violin
subject, which made every thing, in the least degree extra-
(London, 1751), facsimile ed. David Boyden (London, n.d.),
ordinary, an object of wonder, cannot now perhaps bep. 8. The identical passage occurs in Geminiani, A Treatise of
clearly ascertained: we may however suppose, that there has Good Taste in the Art of Musick (London, 1749), p. 3: '. .. the
been no period of time in which the best compositions, when Close Shake ... cannot possibly be described by Notes ....
badly executed, gave delight to the cultivated ear or polished
To perform it, you must press the Finger strongly upon the
mind. That compounded music' is, in our days, divested Stringof of the Instrument, and move the Wrist in and out
its powers by the manner in which it is generally performed,slowly and equally[;] when it is long continued[,] swelling the
I shall endeavour briefly to illustrate. Sound by Degrees, drawing the Bow nearer to the Bridge,
and ending it very strong[,] it may express Majesty, Dignity,

Concerning the vibrato and other ornaments&8c. But making it shorter, lower and softer, it may denote
Affliction, Fear, &c. and when it is made on short Notes, it
Many gentlemen players2 on bow instruments are only
so contributes to make their Sound more agreeable and
for this Reason it should be made use of as often as possible'.
exceeding fond of the tremolo* that they apply it wherever
they possibly can. This grace has a resemblance to that Geminiani's final sentence has been interpreted to mean that
wavering found given by two of the unisons of an organ,hea advocated continuous vibrato, but he could have written
little out of tune; or to the voice of one who is paralytic; 'all
a the time', 'continuously', or any of several other expres-
sions, had he wished to convey what some modern inter-
song from whom would be one continued tremolo from
preters have read into this passage. Furthermore, in his
beginning to end. Though the application of it may, for the
sake of variety, be admitted, at times, on a long note in
'Composne Ia' in The Art of Playing on the Violin, p. 33,
Geminiani indicates 'all the Ornaments of Expression,
simple melody; yet, if it be introduced into harmony, where
the beauty and energy of the performance depend upon the necessary to the playing in a good Taste', and vibrato is
called for only once in an adagio movement thirteen bars
united effect of all the parts being exactly in tune with each
long. Earlier he had distinguished between violin vibrato,
other, it becomes hurtful. The proper stop4 is a fixed point,
from which the least deviation is erroneous: consequently 'which may be made on any Note whatsoever', and flute
the tremolo, which is a departure from that point, will not vibrato, which 'must only be made on long Notes' (Rules for
only confuse the harmony to the hearers who are near the Playing in a True Taste (London, c 1746), Preface). But, 'on
band, but also enfeeble it to those at a distance; for to these any note whatever' does not necessarily imply 'on all notes',
last, the performance of him who is applying tremolo is lost.*and * in any case, solo and not orchestral playing may be
* By tremolo is meant that quivering sound made by the trembling meant. of Leopold Mozart may have been hinting at a similar
the instrument-hand, the finger at the same time not departing from attitude: 'Now because the tremolo [vibrato] is not purely on
the string. The once eminent Geminiani, whose pupil I had the one note but sounds undulating, so would it be an error if
honour to be, has, in his instructions for the violin, called it the close
every note were played with the tremolo. Performers there
shake;3 which name I should not have presumed to have altered for
are who tremble consistently on each note as if they had the
that given by the Italians, had I not found it impossible to make
mention of more shakes than one, without embarrassing myself and palsy. The tremolo must only be used at places where nature
misleading the reader.
*" Those who doubt that erroneous sounds in a musical herself would
sustained produce
note'. it[,....
He goes on to on]show
a closing notemeasured
a slow, or any other
performance are lost at a distance, need only to enter any church;
vibrato (compare Geminiani's 'slowly and equally') which he
where, it is more than probable, that their ears will be grated with
considers
dissonant voices: if so, let them step out of the church-yard, andmandatory on certain long notes (L. Mozart,
then they will lose these irregularities, and hear only whatVersuch einer griindlichen Violinschule (Augsburg, 1756); trans.
is perfect.
This may be owing to the strength which unisons orE.concords
Knocker, A Treatise on the Fundamental Principles of Violin
acquire by coincidence; whereas discordances by not being so aided,
Playing (London, 2/1951), pp. 203-5). Wolfgang Mozart in a
are either taken captives by, and embodied with the conquerors, or
letter to his father, 12 June 1778, wrote, '[The singer]
destroyed. Were sounds, or rather those agitations of the air that
Meisner,
produce them, objects of sight, this matter might be more as you know, has the bad habit of making his voice
clearly
illustrated.' tremble at times, turning a note that should be sustained into

48

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distinct crochets, or even quavers-and this I never could
endure in him. And really it is a detestable habit and one
which is quite contrary to nature. The human voice trembles
naturally--but in its own way-and only to such a degree VIOLA DA GAMBA
that the effect is beautiful. Such is the nature of the voice;
and people imitate it not only on wind-instruments, but on
SOCIETY OF AMERICA
stringed instruments too and even on the clavier [clavi-
chord]. But the moment the proper limit is overstepped, it is
no longer beautiful-because it is contrary to nature' (trans.
Annual Journal. Contains scholarly articles on
E. Anderson, The Letters of Mozart and his Family (London,
viols and related instruments.
2/1966), p. 552). Mozart refers to solo, not ripieno playing.
Francesco Galeazzi, in a section of his violin method entitled Quarterly VdGSA News. Contains
'Di alcuni giucchi di mano, e particolari artificj di cui si pu6 organizational news, reviews, advertising.
far uso', wrote that the vibrato 'consists in pressing the finger Annual Conclave. Provides an opportunity for
well on the string to perform a long note, and then, marking consort playing and study with outstanding
with the hand a certain paralytic and trembling motion, teachers.
performing so that the finger bends now to this side and now Publication Series. Consort music is available
to that, and resulting in a vacillating pitch and a certain to members at low prices.
continual trembling not unpleasing to those people [who do
For membership information write:
it]; but these are most genuine discords which can please
John A Whisler,
only those who are accustomed to them and which should be
2009 Peabody, Apt. 5, Memphis, TN 38104,
entirely banned from music by anybody equipped with good USA
taste' (Elementi teorico-practici di musica, con un saggio supra l'arte
di suonare il violino, 1 (Rome, 1791), p. 171). Some three Submit manuscripts for Journal articles to:
Efrim Fruchtman,
decades later the composer Louis Spohr was still wary of the
Department of Music, Memphis State
vibrato whose '... deviation from the perfect intonation of
University, Memphis, TN 38152, USA
the tone,
... its shoulduse,
frequent hardly beimproper
or in perceptible to the
places' ear. .... Avoid
(Violinschule
(Vienna, 1832); trans. U. C. Hill (Boston, 1852), p. 136). See
also David Boyden, The History of Violin Playingfrom its Origins
to 1761 (London, 1965), pp. 386-90.
WIGMORE HALL
4 The proper place to stop the string. Wigmore Street, London W1
5 Bremner prophetically describes what nowadays can easily
be accomplished with an oscilloscope attached to a
microphone.

Thursday 25 January
at 7.30 p.m.

PEC Concerts Ltd presents

THE ENGLISH CONCERT

Directed from the harpsichord by
TREVOR PINNOCK
Guest soloist: JENNIFER SMITH
CONCERTOS AND CANTATAS BY THE MOST
EMINENT MASTERS, 1720-1760
X...

STANLEY: Concerto for Orchestra in G, Op. II No. 3

ARNE: Concerto for harpsichord and orchestra

ARNE: Cantata, Cymon and Iphegenia X.

GEMINIANI: Concerto Grosso in D minor ('LA Foilla')
HELLENDAAL: Concerto in D minor, Op. HI No. 2
HANDEL: Cantata, Silete Venti
:?:??:?::?:??:?::?:??:?::f?....:

Francesco Geminiani (c 1680-1762), engraving by Grignion afterjenkins

49

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Its utility in melody may likewise be doubted, because no
deficiency is perceived when it is omitted by good per-
formers: and, if an unsteady voice is reckoned a defect in a
singer, he may also be called a defective performer whose
fingers are destroying the plain sound, which includes both
truth and beauty.6
The trillo or shake, though the finest grace in music, is
injurious to the performance when introduced improperly.
Notwithstanding I have bestowed much thought on this
delicious trifle, yet it has not been in my power to recollect
any thing in nature of which it is an imitation:' my researches
have nevertheless led me to believe, that it first drew breath
in music, at a cadence in slow melody, where the want of it
would be a real disappointment; for there it is as important
as Amen at the close of a prayer.t Having thus conceived the
shake to be the sole property of the true cadence, I seldom
hear it applied anywhere else, without considering it an
officious intruder, hurting itself and spoiling the perform-
ance:9 but as others may be of a contrary opinion, and as
gentlemen performers are, in general, fond of applying the
graces of the finger, we shall consider them further in
shewing the difference between solo and concert playing; a
distinction so necessary to be made, that without it every
performer in concert must be in danger of misapplying his
abilities.
A solo-player being the principal entertainer during his
performance (for the base part is considered only as a
servant), all the different graces of the bow and finger may be
applied by him, when and where he pleases. He may also
crowd the melody with additional notes, or simplify it. He
has it likewise in his option to reject the original, which he
often does in slow movements, and to substitute his own
immediate fancy in its stead, provided such fancy suits his
base.'0 In short, he is at full liberty to make use of all the
powers and embellishments of which he is master, and justly;
for, whether he rises or falls in the estimation of the public,
he does so alone.
The concert, or orchestra player, on the contrary, is only a
member of that whole by which a united effect is to be
produced; and if there be more than one to a part, he
becomes no more than a part of a part; therefore his
performance, with that of those who play the same part,
must, like the unisons of an organ or harpsichord, coincide
so as to pass for one entire sound, whether loud or soft."
Should any one from the leader downward deviate in the
least from this uniformity, it may easily be supposed that his
t To treat here of the nature of the shake, and different kinds of
cadences, might divert the mind of the reader from my principal
object; I shall therefore delay the consideration of these for the
present.8
II Upon the first tuning of an orchestra, it is surprising to hear how
much one violin differs in tone from another throughout the whole.
Should this, like the pipes of an organ unequally voiced, be found to
lessen the union wished for, those who play much together should
endeavour to have instruments of the same kind, something similar
in tone."
50
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6 'Truth' and 'beauty' may be used here in their colloquial
senses. More likely, however, this is a reference to the neo-
Platonic idea of the perfection of small, whole-number ratios
as exemplified in music by the vibration ratios of in-tune,
consonant intervals. Later in his essay Bremner uses 'truth'
to mean 'pure intonation', as with the contemporaneous
French termjustesse.
This remark reflects the then-widely-held aesthetic theory
that musical sounds by themselves are without meaning-
that they acquire meaning either by association with words
or by painting, depicting, or 'imitating' sounds, objects,
motions, or emotions found in nature. See Maria Rika
Maniates, '"Sonate, que me veux-tu?": The Enigma of
French Musical Aesthetics in the 18th Century', Current
Musicology, 9 (1969), pp. 117-40.
8 This is the first of three remarks indicating that the essay
was formed from portions of an intended larger work.
9 An apparent indictment of performers who add trills other
than at cadences, but not necessarily of composers who may
have indicated them elsewhere.
10 The best, fully written-out example of what Bremner
meant by a soloist's freedom to 'reject the original... and to
substitute his own immediate fancy in its stead...' is J. B.
Cartier, 'Adagio de Mr Tartini, Vari% de plusieurs faqons
diff6rentes, tres utiles aux personnes qui veulent apprendre 'a
faire des traits sous chaque notte de l'Harmonie', which is an
insert at the end of Cartier, L'Art du violon (Paris, 1798;
3/1803, facsimile of 3rd ed. New York, 1973) reproduced in
H. P. Schmitz, Die Kunst der Verzierung im 18. Jahrhundert
(Kassel, 1955) and in R. Donington, The Interpretation of Early
Music, New Version (London, 1975), pp. 602-5).
1 The need to match violins is a point I have not seen else-
where, but the need to match bows is mentioned by other
writers of the period (see N. Zaslaw, 'Toward the Revival of
the Classical Orchestra', Proceedings of the Royal Musical
Association, 103 (1976-7), p. 159).
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performance must, for that time, be worse than nothing. All
the parts being thus rendered pure, and the whole properly
proportioned, then will that noble construction, harmony,
strike the mind with pleasing astonishment. That its force is
rarely to be experienced, even where it is most to be
expected,12 must be allowed; and the cause is, that many
leaders of orchestras either show a bad example in doing
more than they ought, or take no pains to regulate the
performance for their fellow labourers.t But to return:
From what has been observed above, it must follow, that
when gentlemen are performing in concert, should they,
instead of considering themselves as relative parts of one
great whole, assume each of them the discretional power of
applying tremolos, shakes, beats, appogiaturas, together
with some of them slurring, while others are articulating, the
same notes; or, in other words, carrying all their different
solo-playing powers into an orchestra performance; 4 a
concert thus rebellious cannot be productive of any noble
effect. ?
The above representation of a gentlemen's-concert is not
feThe first intention of placing an organ in a church, must have
been to heighten praise, and not confound it. That organist, there-
fore, who does not consider his performance as a part of the whole,
but is shewing his skill in modulation and division, on the bass part
of a church tune, must mar the intention, as he thereby prevents
those from singing that essential part, who otherwise might. It is to
be feared too, that those shakes and flourishes, introduced by many
at the end of every line of words, where the sense is often not com-
pleted, disturb the devout singer. How far the interludes between the
verses may have the same effect, I leave to the feelings of the
performer to determine. Perhaps was he to think with me, that he is
only the leader of a great band, and therefore, from the commence-
ment of the performance till it is finished, has, like other leaders of
concerts, no right to add a single note beyond what ought to be
performed by the band;'3 I say, was he to judge thus, he might
suppose it an easy matter to be a good organist. Such supposition
must, however, be groundless; for if shakes and interludes con-
stitute a good organist, those who are the most ignorant must be so,
all such having them in great abundance. But the fitness of the first
voluntary for the very center of devotions, and the taste in which it is
played;- the proper application of the stops to shew the different
powers and beauties of the instrument, without letting down its
dignity by misapplying them, as the unskilled often do;- the
sensible and communicating manner in which the psalm tune is first
given out;- the conducting the congregation in proper time, and
humouring their strength of voice;- the grandeur and majesty of
the concluding voluntary, in which the master seldom fails to give
scope to his fire and fancy in a well-wrought fuge [sic], a stile of
music very suitable to the church, if not invented for it;- and the
not carrying harpsichord-playing into an organ performance, are
circumstances of such importance, and so far beyond the reach of
the ignorant organist, that, if merit is to determine the choice, he
cannot stand in competition with the man of sound knowledge, and
extensive abilities.
? Choruses, the most awful'" of all musical entertainments, are too
often performed in this undisciplined manner; not intentionally, but
from ill-judged ambition, which fires the breasts of many singers
with a desire of excelling their neighbours in skill and vociferation.
Should he who hath thus transgressed, make it his future study to
render his performance useful rather than conspicuous; and at the
same time not strain beyond that natural strength of voice which
affords pleasure, public complaint will give place to public
admiration.
52
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12 A reference, apparently, to orchestras made entirely of
professional musicians.
13 Compare Spohr (op cit, p. 155): 'Further rules for
Orchestra playing are-to avoid every addition of Turns,
Double-turns, Shakes, 8cc.; likewise all artificial Shiftings, the
sliding from one tone to another, the changing of the fingers
on one tone; in short, every embellishment properly belong-
ing to the Solo'.
14 Johann Friedrich Reichardt wrote something similar,
stating that the ripieno violinist must not add or subtract any
note or articulation from those which he finds in his part
(Ueber die Pflichten des Ripien- Violinisten (Berlin and Leipzig,
1776), chap. 8). Quantz had earlier stated the same notion:
'Should there be some among the ripienists whose execution
differs from that of the others, the leader must undertake to
rehearse them separately, lest one, for example, add a shake
where others play without it, or slur notes that are attacked
by others, or make a mordent, omitted by the others, after an
appoggiatura; for the greatest beauty of performance stems
from the uniformity with which all the members of the
orchestra play' (Versuch einer Anweisung die Fliite traversiere zu
spielen (Berlin, 1752); trans. E. R. Reilly, Essay of a Method for
Playing the Transverse Flute (London, 1966), p. 210). Since
Geminiani, Bremner, Galeazzi, and Spohr agree that vibrato
is an ornament to be used by soloists, and since, according to
Quantz, Reichardt, Bremner, and Spohr, ripieno players
must add no ornaments to their parts, vibrato must have had
little place in the orchestral playing of the era. In the realm
of chamber music, 'the applications of other modes used in
the Solo, require great caution in the Quartett, to prevent an
interruption in the ensemble and destroy the meaning of the
composer [sic]. In passages decidedly Solo, the usual embellish-
ments may be allowed' (Spohr, op cit, p. 154).
'5 Music which, inspires awe in the listener.
16 Presumably Bremner means '.. . has not been treated of
hitherto in English', although he may not have known the
treatises of Quantz or Reichardt cited in note 14.
'~ A reasonable sight-reader. This point is important
because there is evidence that most orchestral concerts were
undertaken with only one rehearsal (see Zaslaw, loc cit, note
25).
is Compare Jean-Marie Leclair l'aini's preface to his op. 9
violin sonatas (1743): '... an important point, and one on
which we cannot insist too much, is to avoid that confusion
of notes which people add to melodic and expressive pieces
and which serve only to disfigure them'.
19 'Tune'-playing in tune.
too highly painted; the performers are however not to be
blamed, because, for ought I can learn, the difference
between a solo and concert performance has not been
treated of hitherto.16 Should gentlemen now see this differ-
ence in its true light, there is great reason to hope that they
will not hereafter destroy their own entertainment by
mingling these two styles of playing together; at least by
carrying the first into the last. To bear a part in concert with
propriety, the fingers must be considered only as meer stops
to put the notes in tune; or, which is the same thing, every
tone should be as void of ornament as if produced by an
open string: In short, the music must be played just as it is
written; and as this will render any gentleman, who is
tolerable sight's-man,'7 an excellent concert player, diffi-
culty need not be his objection.
To conclude this head: Would gentlemen lay aside the
graces of the finger, for some time, even when playing alone,
and attend to the plain sound, it will soon gain their
affection;-being of so bewitching a nature, that the more it is
practised, the more it will be admired. The bow hand too
will thereby improve exceedingly. Those who feed upon the
graces of the finger, seldom pay attention to the bow; in the
judicious management of which, all power, taste, and
expression, chiefly consist. It may not be improper here to
observe, that the gentleman-performer on either the
German flute or hautboy, should also, when playing in
concert, adhere to the simplicity above recommended; for
foul playing on a wind instrument must be equally
prejudicial to the performance as on any other. Indeed,
'Gentlemen musicians'at Cambridge, c 1770 (Fitzwilliam Museum, Cambridge)
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should he be sparing of his finger-graces in general, and
study the varieties and powers of blowing, his performance,
if not already so, will soon become delicate, sweet, and
pathetic. In hopes of having quieted the restless finger,'8
without which concord cannot be produced, we shall next
consider Tune.19
Concerning pure intonation
EITHER from want of care in teachers, or that they are too
soon discharged, many gentlemen, even of considerable
execution, stop very much out of tune;* I do not mean the
mistakes occasioned by difficult music, for the very best
performers are liable to them; but those [persons] above
alluded to, hold a minum in an adagio out of tune with
pleasure.
A teacher instructs his young pupil to make the half note,
* The musical student who can afford the expence, though
possessed of uncommon abilities, ought never to be without a
master; because he [the master] not only keeps up the spirit of music,
by finding out something new for the practice, and entertainment of
his pupil; but is often valuable on account of his own performance.
A professor assured me,.that he had a constant scholar for years,
who he was informed played pretty well, but that he never had the
pleasure of hearing him; foi said he, "Instead of his playing, he kept
me playing whatever I pleased during the whole alotted time, and
gave for reason, that there was more to be learned from hearing and
seeing a master perform, than by playing to him or with him". The
young student, however, will do well not to carry this plan of
instruction to so great a length.
53
or semi-tone, by putting the finger close to the one it 20 Compare Quantz (op cit, p. 269): 'Many would also play
succeeds; and this is the best direction that can be given to a more truly in the high register if they knew that the notes on
beginner: but when the student is once able to tune his the string, from its lower to its upper part, are not all at the
instrument, the insufficiency of that rule should be made same distance from one another but lie at reduced intervals,
known to him. That it is very defective is plain for this namely closer and closer to one another'. John Hind
reason: if to make the half note in the first position of the Chesnut ('Mozart's Teaching of Intonation', Journal of the
hand, the finger requires to be put close to the finger already American Musicological Society, 20 (1977), p. 257) writes of this
down; it must be impossible for the same fingers to play the passage, 'Some string players of the period must have been
same notes in tune an octave higher on the same string, the incredibly ignorant....' However one must keep in mind
stop there being but half the length it is below.20 And yet this the extent to which amateurs were involved in orchestral
same first rule, by which all the sharps are made too sharp, concerts. These were often men of rank who could not easily
and the flats too flat,21 even if the fingers are thick, is be corrected or reprimanded. See, for instance, Galeazzi's
evidently the only one attended to by many of the Dilettanti. bitter remarks (op cit, p. 212) and, closer to Bremner, the list
Tune can only be ascertained by comparing one sound to of more than 50 high-born English amateurs given by
another; for an unconnected sound cannot be out of tune. A Christoph Gottlieb von Murr (ed.), 'Verzeichniss vornehme
gentleman, therefore, by being in the constant practice of Musikliebhaber in England', Journal zur Kunstgeschichte und
tuning his violin, tenor, or base, of which the strings are allgemeinen Literatur, 14 (17 87), pp. 84-90 and 15 (17 88 ?), pp.
fifths to each other, has got master of a fifth. He likewise can 3-5. Concerning the extent to which amateurs dominated
refine an eighth, and this he has acquired by comparing the English orchestral music in Bremner's day, see Stanley Sadie,
sound given by the third finger on any of the strings [but the 'Concert Life in Eighteenth Century England', Proceedings of
lowest], with that of the open string below it, to which it is an the Royal Musical Association, 85 (1958-9), pp. 17-30; and
octave. But that performer who thinks he plays in tune, and Arthur Hutchings, 'The Unwritten Burney', Music Review, 25
yet whose ear cannot refine all the concords with the same (1964), pp. 127-35.
degree of certainty it can a fifth or eighth, does but deceive 21 Bremner agrees with the principal 18th- and earlyl9th-
himself and disappoint others. century writers in placing Ab higher than G#, Bb higher than
There are seven concords, namely, the greater and lesser A#, etc., or precisely the opposite of modern practice (see
3ds, the 4th, 5th, greater and lesser 6ths, and the 8th, or David Boyden, 'Prelleur, Geminiani, and Just Intonation',
octave. The 4th, 5th, and 8th are called the greater, and the Journal of the American Musicological Society, 4 (1951), pp. 202-
19; J. Murray Barbour, 'Violin Intonation in the 18th
others the lesser concords.22 Of two of these, namely, the 5th
and 8th, we shall, for the reasons already given, suppose the
Century', ibid, 5 (1952), pp. 224-34; and Chesnut, loc cit).
student to be master. The others are in like manner The earliest references to the modern manner of tuning
adjusted'2 by comparing them with one or other of the openand flattened notes are found in irate remarks
sharpened
made
strings, they being the tests by which Tune can be best by the aged Jean-Jacques Rousseau in the 1770s
ascer-
tained; and therefore I have made use of them as standards
((Euvres complites, ed. V. D. Musset-Pathay (Paris, 1824), vol.
11, pp.
in the following examples. In playing these examples, 289-90) and-according to Boyden-in Bartolomeo
a slow
and even bow is recommended, as thereby the fingers will Metodo per Violino (Milan, 1797). Bremner's
Campagnoli,
have time to move backward and forward in searchremark
of truth,
about how beginners were first taught to find the half
without any failure in sound. steps on the fingerboard suggests the route by which
musicians' ears may first have become accustomed to our
present system. We should recognize that, in departing from
a manner of tuning intended to minimize beating, our
Flat stops of the first and second fingers.
present manner represents a lowering of standards for pure
A h i
intonation.

22 After having taken Geminiani to task for assigning two

meanings to the term 'tremolo', Bremner here uses the terms
'greater' and 'lesser' to mean respectively 'major' and
The note F is to be so stopped 'minor', that and the'perfect'
open and 'imperfect'.
string A may
become a perfect 3d to it, (h). This 23 Bremner
is thefails tomajor,
explain whator he sharp
means by 'adjusted'
3d, and
the refining of which will cost some how that time
adjustmentandis toattention
be achieved. Presumably
to the he means
inexperienced. This 3d being thoroughly for the player to listenadjusted,
for the beats andlet the them,
to eliminate
finger on F remain in its place,but tothewhich
same tuning let
can B flat be
be achieved mademethod
by Tartini's a of
perfect 4th, (i). This is a more powerful listening for the concord
difference tonesthan the
(also known 3d, tones
as Tartini
and therefore sooner ascertained. If these two chords [i.e. or il terzo suono), and getting them in tune. With a major
intervals] are in exact tune, they fix the flat stops of twothird, for instance, it is sometimes easier for a performer to
hear whether or not the double octave between the lower
fingers on all the strings, for the opposite 5ths have the same
stops. note of the third and the difference tone is in tune, than to

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 Bremner's tuning intervals above, resulting difference tones below.
Of the three remaining concords two are found by means
h i k/n 1 m o/s p/q r s
of the B flat.

[h] [i] k I m

- 0.L... I

The B flat again being adjusted and retained in its place,

let G be put in tune by its octave below it, (k); to which G, the
B flat is a minor, or lesser 3d, (1). Again, the same B flat is a
minor 6th to D, (m).
The major, or greater 6th, only now remains to be treated
SPECIAL OFFER
of, and may be found thus:
FIVE YEARS
n o p
of
a
EARLY MUSIC
The note G tuned by its octave, (n). To that G, tune a for
major 3d, (o); which B, is a major 6th to D, (p).

?35
If the ear can adjust the above five concords, it will h
no difficulty in doing the same in any other part of
(usual price ?41) it is, and so of
instrument; for a 3d is a 3d where-ever
others.
Five paperbound volumes obtainable from
As 3ds and 6ths are the most difficult for the ear to perf
Journals Manager, Oxford University Press,
the following example in shouldPress be much
Road, London NW10 ODD practised;
performing of which, the finger should be made to
gently backward and forward from one semi-tone t
other, till the ear be thoroughly satisfied, and w
acquainted with what is, and what is not tune.

For the Violin. For the Tenor. For the Violoncello.

[ q] r q r q r The
5th min. maj.maj. min. 5th min. maj. maj. min. 5th min. maj. maj. min.
6th 6th 3d 3d 6th 6th 3d 3d 6th 6th 3d 3d
John Loosemore

In like manner the student may creep up to the top of his

Centro
finger board, and in every shift of the hand, tune the
concords by one or other of the open strings.
KEYBOARD
The upper note at (q) and the under STUDY
note at (r) are the
sharp stops of the first and second fingers.
That the eye may be satisfied as well WEEKEND
as the ear, let the
chords below at (s) be put in exact tune, and if the fingers
[stopping] B and C are retained in CHRISTOPHER HOGWOOD
their places, it may be
seen, that though C is but a semi-tone above B, yet those
2nd to 4th February, 1979
fingers are not close to each other. By the chords at (t) the
same proof may be made of C sharp and D.
CONTINUO PLAYING
[k/n] st
SomA g ,lp TI ILI
For individual players and ensem

I shall only furthe

The John Loosemore Centrefor Organ and Early Mu
perhaps somewha
CHAPEL STREET BUCKFASTLEIGH DEVON
point of giving du
Telephone BUCKFASTLEIGH (STD 036 44) 2568
judge the third d
Bremner's intervals are these:

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will soon become master of it, whether he plays alone, or 24 Bremner refers to the 'Lettera del defonto Signor
bears a part with others; for if alone, he has his own open Giuseppe Tartini alla Signora Maddalena Lombardini
strings for a test; and when with others, one or other of their inserviente ad una importante lezione per i Suonatori',
parts, to which he may be a concord, will be his guide. It is Europa Letteraria (Venice, 1770). The original Italian is found
true his partners may be equally at a loss with himself, and, along with 18th-century French, English, and German trans-
therefore, not to be depended upon; but even this may tend lations in Tartini, Traite' des Agriments de la Musique, ed. E. R.
to his improvement, and of course to theirs, provided they Jacobi (Celle and New York, 1961), pp. 127-39.
often compare notes and check each other; a liberty which 25 The passage in question, referring to allegro movements
all gentlemen who wish to improve, should give and take in Corelli's solo sonatas op. 5, in which there are con-
without restraint. tinuous semiquavers, reads: '... and above all, you must
remember in these studies to begin the allegros or flights
sometimes with an up-bow, and sometimes with a down-
Concerning the proper management of the bow, carefully avoiding the habit of constantly practising one
bow way' (ibid, p. 5). Perhaps Tartini was recommending this as a
bowing exercise rather than as a means of performing
THE powers of the bow I shall not at present consider, but
Corelli's allegros, but in any case he was referring to solo and
may hereafter. In the mean time, the student who cannot
not orchestral performance.
have a master, may peruse Tartini's Letter to Madam Syrman
26 This authoritarian viewpoint was undoubtedly widely sub-
on the Art of the Bow.24 There is, however, one practice
scribed to under the 'ancient regime'. Modern wisdom is
recommended there to which little attention may be paid,
more inclined to favour, 'There are more ways than one to
which is the beginning semi-quavers with an up-bow, a diffi-
skin a cat'.
culty almost insurmountable, and of no great use when
27 ,. .. in order to acquire that light pulsation and play of the
conquered;"2 for if, according to the general opinion, there is
wrist, from whence velocity in bowing arises, it will be best
but one best way of doing any thing, it must certainly be that
for you to practise, every day, one of the allegros, of which
which is followed by the generality of the best masters.26
there are three, in Corelli's solos [op. 5], which entirely
Beside, such a practice if not universal, gives a disagreeable
moves in semiquavers. The first is in D, in playing which you
appearance to an orchestra, as it causes a contrary motion in
should accelerate the motion a little each time, till you arrive
the bows of those who play the same part.
at the greatest degree of swiftness possible: but two pre-
The manner he recommends of playing semi-quavers, as if
cautions are necessary in this exercise; the first is, that you
there was a rest between each note [sic],27 need not startle the
play the notes staccato, that is, separate and detached, with a
student; it depending on a loose wrist, by which the bow gets
little space between every two: for though they are written
a hopping from note to note, and produces the articulation
thus,
desired.
The practice of the swell, as there instructed,28 is of the
utmost consequence to those who wish to send a melodious
Adagio, or any airt,] home to the heart; but such slow
movements as are composed more for the effects of harmony
than melody, like those in the trios of Corelli, and many
modern compositions, claim, in most instances, a steady they should be played as if there was a rest after every note, in
equal pressure of bow. A daily practice of this manner of this manner,
bowing is of equal importance with that of the swell, if not
more so, to those who wish to be useful in concert; as it
accustoms the student to have at all times length of bow to
spare, of which every good performer makes a point. These
A ya U-
Iff , A
two, namely the swell, and sostenuto, or sustained bow, may
be said to be the roots from whence all the other powers of
(Tartini, loc cit, p. 135).
bow spring.
28 . .. . my advice is, that you first exercise yourself in a swell
Tartini, perhaps from a supposition that a lady was not
upon an open string, for example, upon the second or a-la-
qualified to be the leader of a band capable of producing the
mi-re: that you begin pianissimo, and increase the tone by slow
great effects of harmony,30 thought it best to confine his
degrees to its fortissimo; and this study should be equally
instructions to those powers of the bow, necessary for the
made, with the motion of the bow up, and down, in which
exercise you should spend at least an hour every day, though
* I have been informed that Corelli judged no performer fit to at play
different times, a little in the morning, and a little in the
in his band, who could not, with one stroke of the bow, give a steady
evening; having constantly in mind, that this practice is, of
and powerful sound, like that of an organ, from two strings at once,
all others, the most difficult, and the most essential
and continue it for ten seconds: and yet, it is said, the length of their
to
bows at that time did not exceed twenty inches.29 playing well on the violin' (Tartini, loc cit, p. 133).

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execution of his own solos and concertos, or others in the
same style; in which the entertainment depends chiefly, if not
intirely, upon the principal performer: for he, together with
his auditors, consider the symphonies3' in the concertos in
no other light than as introductions, respites, and con-
clusions to his performances; and, therefore, he seldom joins
in them, excepting to mark time; nor are the accom-
paniments to his solos regarded farther than as distant
attendants: but that orchestra, on whose united powers the
entertainment of the audience depends, will require a more
spirited leader than this letter, however excellent in its way,
can instruct.

Conclusion

It was once my intention to have treated here of that delicate

part of concert-playing, Accompaniment; and also of the
refinements in Solo-playing; but as these are not yet finished,
and considering how materially the best compositions in
parts are daily injured by the graces of the finger, together
with the little attention paid by many to Tune; it has been
judged necessary to publish these few fundamental principles
without further loss of time. Perhaps they may engage the
notice of the reader better in this detached form, than if
joined with other matter. To conclude:
To those gentlemen who laudably meet together to
improve, and feast on their own musical performances, I beg
leave to present these few pages. As I owe much to them,32
should this short essay meet with approbation, they may be
assured, that to render the subsequent part more worthy of
their esteem, no pains shall be spared by
Their grateful, and
Giuseppe Tartini (1692-1770): engraving by Carlo Calcinoto after a
much obliged Servant,
portrait by (?)V. Rota (1761)
London, January, 1777. R. BREMNER.
Neal Zaslaw is Associate Professor and Chairman of the Departm
29 Boyden suggests that 'Bremner must mean "twenty
of Music at Cornell University. His numerous articles and reviews a
inches" of free playing hair' (The History of Violin Playing
primarily ....
concerned with 17th- and 18th-century music, espec
p. 256). French music of the Lully-Rameau period, the music of Mozart,
30 It is not clear whether Bremner was approving Tartini's problems ofperformance practice. He is musicological supervisor of
supposed motive, or gently chiding him for it. Maddalena Academy of Ancient Music's recordings of the Mozart Symphonies f
Laura Sirmen, nee Lombardini, was a fine violinist and
Florilegium.
composer, and hardly in need of an elementary lesson. The
letter, written when she was beginning a long tour of western
Europe (1760), was perhaps intended to be used with her
own students. Even though England was socially the most EARLY MUSIC
advanced nation in Europe (this is alluded to in Mozart's Die
Entfiihrung aus dem Serail (1782) when Blonde says, 'Ich bin
eine Englhinderin, zur Freiheit geboren und trotz jedem, der
Five-year index
mich zu etwas zwingen will!'), Bremner mentions only
gentlemen players.
1973-7
31 Ritornellos.
32 Bremner alludes to the considerable success of his Obtainable from Journals Department, Oxford
University Press, Press Road, London NWIO ODD,
publishing business.
Price ?1 ($2.50). Free to all who purchase the five
A facsimile edition of Robert Bremner's essay is available from
paperback volumes at the special price of ?35 ($70).
Hermann Baron, 136 Chatsworth Road, London NW2.

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