Georg Muffat: the rules of violin bowing, David Wilson and Voices of Music
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- เผยแพร่เมื่อ 10 ต.ค. 2014
- Violinist and musicologist David Wilson explains Georg Muffat's Rules of Bowing in this educational video from the Early Music ensemble Voices of Music. Muffat's rules of bowing are one of the most valuable sources for our knowledge of 17th-century string playing.
As a young man, the composer Georg Muffat traveled to France where he saw first hand the legendary orchestra of Jean-Baptiste Lully. As well as being a great composer, Muffat is an authority for the techniques of bowing string instruments from this time, as well as a foundational source for the Early Music revival. In this video, David Wilson outlines and demonstrates Muffat's ten rules of bowing.
This video is part of the Voices of Music Worldwide Music Education Initiative. David Wilson's book may be purchased here
www.iupress.indiana.edu/produc...
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Great, clear exposition of Muffat. Its interesting how influential those French orchestral rules have been for baroque players of the past 50 (!) years and how little we've paid attention to what Muffat says the Germans and Italians did.
Muffat's rules for bowing give great direction as to the articulation & accent & thereby allowing us today to recreate what the music actually did sound like as opposed to how modern orchestras have negated these aspects. It also, for me as a keyboard player, indicates the way the notes & phrases should be approached. Thanks for this video!
We are now using an updated subtitle/closed captions system. For a translation into any language, or to access the text, turn on subtitles/captions--the "cc" button, then click the settings "gear" and select any language from the menu.
I really like this video because it can be fantastic for people learning the Violin. This is because with each piece of music being on screen while the performer plays, you can observe the bow stroke divisions for the notes. And whether to go up bow or down bow on certain notes in music may teach people about how the bow can be used to create "accents" on the strongest beats.
It is fascinanting how Quantz and Tromlitz, decades after Muffat, would apply rules so closely related to Muffat's with regards to articulation on the flute.
Thank you sooo much. Looked everywhere for this information!!!
This is perfect teaching!!!
What a fantastic resource--brilliant use of the medium. Well done all!
Lovely! Please, join more videos like this one. I am a baroque violin player and it is really helpful.
Thank you! Will do!
Muffat's rules still work well for modern dance fiddling! Great video, and thanks for the link to IU Press! I found several books in addition to the Muffat volume that I'm interested in...
***** How interesting~!
Really Thanks so much for this!
Such a good explanation...thank you!!
As a Baroque music lover, Vivaldi or Bach would approve of David Wilson's excellent bowing explanation. Being a novice myself, I am starting to learn more about bowing technique and how Baroque v Classical or Romantic differ. Thank you David Wilson. Tres bon.
GEORG MUFFAT
{ MEGEVE 1653-1704 PASSAU }
THE RULES OF VIOLON BOWING - DAVID WILSON . Merci pour se cour de musique , au violon tank you.
This video is Gold ! Thanks !
Excellent video!
Thanks for this!!
so informative and exactly what I was looking for, many thanks!
You're very welcome.
Very good tnx for explains
This videos are very useful! Thanks!
Glad you like them!
Thank you for sharing.
Thanks for listening
Sir, Thank you so much
Most welcome
You play very well :)
Sorry for my inadequate English. Do we know for sure that Bach would have supported Georg Muffat's rules? And Voices of Music, thank you so much for answer our questions!
There must have been some bowing rules for Bach and most other composers, since performers didn't write in the bowings. There's no reason to think these rules were very different for Bach, but by the end of the baroque period you start to see some comments by players wanting more freedom in the bowing. Since the bowings aren't marked in, we don't really know the exact bowings that were used. Some groups use Muffat's rules for most of the repertory, other groups do not. However, many groups add extensive markings to the music which you don't see in the baroque, and that argues in favor of some sort of system or tradition.
Baroque music is dancing and singing. Muffat learned the bowings from Lullys orchestra, so we shold use them for all dance music in French style.
More important as the bowings is the sound that came to the audience. A singer is to be imitated. How that works on baroque violin bowings you can see in the notes of any baroque composer. There is no written rules, there can't be any. It is a matter of good taste. Good taste is the taste of the auditors. They paid for it. @@VoicesofMusic
Thanks!!!!!
Welcome!
Thank you so much for this explanation! After desperate looking for information on the subject - so concise and short! Thank you! So how did actually German and Italian baroque players synchronize their bowings???
impressive ☺🤗
Thank you! Cheers!
Nice :)
So are these rules also applicable to German and Italian music, or only French? Would, say, Corelli's sonatas or Telemann's fantasias benefit from the application of these rules?
Some ppl use them for everything, but for sure French & German.
As a none string player this has been extremely enlightening. Puts me in mind about the baroque French organ rules.
Would German/Italian bowing traditions have been performed as alternate bowing (up/down/up/down) or would there be some variations?
***** For sure there would have been all sorts of individual styles and variations.
There should be a video of Hanneke talking about various things on the harpsichord!
Good idea!
First she needs to know how to play the instrument properly and not bore us to death
Amazing video!! Thanks so much! But could you please set up video caption?
Cristiano Scaglioni We are working on the captions right now as well as a downloadable pdf :)
Yeah! My english hearing is not that good yet. hehe
Cristiano Scaglioni Captions on line and can also be automatically translated.
Voices of Music thanks so much! Love you from voices of music!
So they're not really rules then? More like guidelines. Not to be semantic about it, but there's so much confusion (which I think is partly deliberate) when it comes to conversation about how to play music in the western classical sphere (anything from medieval to romantic music) with "rules" in mind. I'm personally sick of the confusion that still happens now considering this is almost 8 years old.
A set of rules is a like a grammar book, you learn that, and, then, if you choose, you may make your own rules to create literature or poetry. If you are playing baroque music, learning Muffat's rules will not take long and it's valuable skill.
I've never seen a violin with no chin rest.
Instruments from the time of Amati, Guarnerius, Stainer and Stradivarius never had chin rests.
Rule #1: There are no rules.
Rule #2 always follow rule #1