Bowing with Bojan: An Introduction to the Baroque Bow | Bojan Cicic & Academy of Ancient Music
ฝัง
- เผยแพร่เมื่อ 1 ก.ย. 2019
- Bojan Cicic, violinist and leader of the Academy of Ancient Music, explores violin bows with Sandy Burnett, AAM's Hogwood Fellow, as part of our 'Breaking Down Baroque' series.
In this educational video, Bojan describes the developments in baroque bow construction from c.1600-1750, demonstrating changes in weight, design and componentry with four different bows, each corresponding to a specific era and style of playing. Bojan is joined by Bill Carter (principal theorbo player with the AAM) to perform music from each period discussed, ranging from Dario Castello in 1629 to Arcangelo Corelli in 1743.
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MUSIC
Dario Castello (1602 - 1631)
Sonata Prima from Sonate concertate in stil moderno; Libro Secondo [Venezia, 1629]
Giovanni Antonio Pandolfi Mealli (c.1630 - c.1670)
Six Sonatas for Violin & Continuo, Op. 3, No. 2, 'La Cesta' [Innsbruck, c.1660]
Arcangelo Corelli (1653-1713)
'Allegro' from 12 Sonatas for Violin, Op. 5, No. 3 [Rome, 1700]
Jean-Marie Leclair (1697 - 1764)
'Allegro' from Violin Sonata in D major, Op. 9, No. 6 [Paris, 1743]
ACADEMY OF ANCIENT MUSIC
Presenter: Sandy Burnett, AAM Hogwood Fellow
Solo violin: Bojan Cicic, AAM Leader and Principal Violin
Theorbo: William Carter, AAM Principal Theorbo
Executive Producer: Alexander Van Ingen
Filming and editing: Jessie Rodger
Camera Assistant: Kemper Edwards
With special thanks to the Royal College of Music, London, UK. - เพลง
Thankyou so much for this totally inspiring video from Bojan Cicic whom I heard play live in Kendal last year .I shall rewatch it as there is so much Bojan explains and shows as he plays in duet with the graceful theobo of Bill. I was practising bow with my baroque earlier and have the delight of this never ending musical apprenticeship from guidance of fine players such as these. Thankyou so much Bojan.
So few resources about the use of the Baroque bow
I wish I could give this video 2 thumbs up
Very beautiful
The theorist is quite wonderful, but I wish this valuable video about bowing had the violinist actually on camera at all times.
That was very informative and the music was very beautiful. This weekend I was at the old music market in The festival of ancient music in Utrecht and I saw I lot of baroque bows. It is great to hear how they sound and how they make the music sound of composers I like to play music of (on my recorder). It adds a whole new dimension to the music.
@Clayton Arlo yea, I have been using Flixzone} for months myself :)
@Clayton Arlo Definitely, been watching on flixzone} for years myself :)
First time I have heard Bojan speak. This was totally fascinating!
Bravo Bojane! Čestitam na sjajnom intervjuu i odličnom edukativnom videu :) I hvala!
Really thanks so much!!!
Looking at the Castello MSS reminds me of my days in graduate school, transposing early notation into 'modern' notation. This looks fairly easy,as compared with medieval and Renaissance notation.
Beautiful please more.
Years exploded ✝️
Some frogs don't "clip in" but are rather slid along the stick to adjust hair tension. I can slide my frog probably an inch either direction to adjust tension yet keep enough tension for playing. Slide the frog even further up and it comes out altogether, ready for me to pop in a smaller or bigger frog if I want to change the distance between hair and stick.
were there "rules" on how to phrase (slurred versus separated notes)/when to bow change for the baroque period? Or were the slurs/phrasing specifically written out by the composer?
Gorgeous playing but bow history is not quite right. The Roman Corelli school was known for its fierce adherence to the short bow well into the 18th century. Tartini, elsewhere in Italy, used a longer bow beginning about 1720 and was considered very novel and unusual (his bows are preserved in Trieste). There was a great polemic in Italy during the early 18th century about short vs. long bows. As late as the 175os, the great virtuoso Locatelli (living in Amsterdam by then) declared his preference for the short bow, stating "I can play anything with a short bow that anyone can play with a long bow." Interestingly, it was the experimental French who were champions of the long bow in the early 18th century. They also invented the screw-adjustable frog, the first notation of which we find in 1747 in the catalog of dealer and make Andrea Castagery. See R.E. Seletsky, "New Light on the Old Bow", in _Early Music_ May & August 2004.
Fantastic! (except for that jacket!).