8 ways to improve Baroque performance

Tips from The Strads archive on the use of vibrato, bow strokes and rhythmic
hierarchy
November 18, 2015

A Baroque bow tells you how to play, because this music was written for one. If I try to play
Bach with a modern bow now, its very hard almost unplayable. My advice to students
now is to try and play with a Baroque bow and to learn from it and you should also listen
with an open mind to good musicians and period-instrument groups and how they play this
music.
Viktoria Mullova, The Strad, July 2013
Geminiani considered vibrato (close shake) to be an ornament. He associated it with
affective performance, which may express majesty and dignity as well as affliction and fear.
His recommendation to use vibrato as often as possible, not least because it can make the

sounds of short notes more agreeable, is contrary to the sparing use advocated by his
contemporaries and has been interpreted by many as cart blanche for the adoption of a
modern
continuous
Robin Stowell, The Strad, September 2012

vibrato.

Theres often a misunderstanding in Baroque music that it should be played without vibrato.
But thats only half the truth. Leopold Mozart writes that vibrato is like a tremolo, and he
compares it to a church bell if you hit a bell, theres a clear sound at the beginning, then
shortly afterwards you have an oscillation, a ringing, which is basically a kind of vibrato. He
says that you should try and translate this natural effect on to your instrument.
Claudio Bohrquez, The Strad, July 2013
The quintessence of Baroque style is hierarchy, with some notes taking more importance
according to certain rules for example first beat stronger than resolution, with notes
grouped and graded like syllables in a word. The omnipotent rule of down bow reflects the
importance of hierarchy, organising strong beats to be played with a down bow, assuming
that the up bow is the weaker. The coveted equalisation of down- and up-bow strokes
which developed later is inappropriate when administering Baroque bowings and
articulation,
regardless
of
which
bow
Pauline Nobes, The Strad, September 2003

is

being

used.

I think its a real pity that so many musicians all over the world put themselves at the front,
and in fact stand between the composer and the audience. I often feel that the music
suffers, that the composer is put in the shadows by the glamour of the performance.
Ironically, I think there are increasing numbers of early music performers who have that
same
attitude,
and
I
Sigiswald Kuijken, The Strad, June 2011

do

regret

that.

Bach creates an artful fusion of dance and music. The composers intention must have
been to create the illusion of dance through music. If a cellist today aspires to create an
imaginary dance performance in the listeners mind, they will also have to give Bachs
rhythms subtle inflections to create the feeling of a dances movement and momentum.
These inflections have to be delicately nuanced, so that they rhythms conjure the image of
dance without obvious distortions. They need to be so subtle as to be all but imperceptible,
in the same way that Viennese musicians accompany a waltz: the inflections are barely
noticeable, but they beautifully evoke that dance in the listeners imagination.
Ulrich Heinen, The Strad, August 2011
Try to reflect the quality of the harmony in the sound. If it is more dissonant and dramatic,
the bow should go where the sound is more intense closer to the bridge and deeper into
the string. When its a release harmony, it should be lighter, with more length and less
pressure.
Jean-Guihen Queyras, The Strad, June 2012
There is a huge discrepancy between, for example, the wonderfully imaginative bass lines
of J.S. Bach and the duller offerings of other composers, but the bass line of any piece has
the potential to greatly influence the energy of the whole ensemble. Most important in this
respect is articulation. The use of a short, articulated bow stroke helps to clarify the texture
of Baroque music and brings it to life by highlighting its dance-like qualities.
Daniel Yeadon, The Strad, June 2000

A beginners guide to Baroque violin

Pauline Nobes, tutor in Baroque and classical violin at the Royal Northern College of
Music, offers some advice for new starters in Baroque music
January 14, 2015

There used to be two distinct schools of playing, Baroque and modern, of which it was
thought that neer the twain shall meet. Now, however, there seem to be bandwagons
travelling constantly between the two; period-instrument groups frequently import modern
players and in their turn modern orchestras invite old-music specialists. To facilitate this
cross-fertilisation, what compromises can be made regarding equipment and the various
elements of technique?

Using modern instruments for all periods of music is a hefty compromise. However,
combining specialisation with earning a living is hard, especially considering the requisite
financial outlay for at least two quality instruments and three or four different models of
bow. Makers today often offer half-conversions, less expensive than full conversions, to
keep costs down for players, as well as producing fine modern copies. But, although the
sound of the modern instrument differs considerably from that of period instruments, with a
few modifications their use is arguably another of many compromises necessitated by
modern-day performance and recording.
If players wish to stick to their one, beloved instrument in modern set-up, to what extent can
historical performance practice be pursued? The bow can be a simple place to start
copies are relatively inexpensive and widely available. Most Baroque bows are significantly
lighter than modern bows with the balance point generally lower: holding a modern bow
slightly away from the frog approaches this lighter balance. When choosing strings, there is
a wide selection of high-quality gut strings available now, of the sort that were in common
usage.
Playing without a chin rest affects sound and projection as much as many technical aspects
such as vibrato and shifting and is enlightening for a historic approach. After all, Baroque
repertoire was conceived for violins without chin rests: the one invented by Spohr only
started to be introduced around 1820. Leopold Mozarts comfortable position at the neck
varies considerably from a modern-day hold where one freely turns pages with the left
hand.
Pitch is a question of choice too. Baroque pitches varied between 392Hz and 41.5Hz, with
Classical and early Romantic periods ranging between 430Hz and 438Hz, according to
studies of contemporary wind instruments and organ pipes. Baillots attempt to find order by
standardising 440Hz came in the middle of the 19th century. Slackening down to 475Hz, a
semitone lower, may come as an enormous relief to an old instrument, as well as altering
articulation possibilities. Also, harmonic rather than melodic intonation was expected, as
equal temperament was not yet established as the norm.
Then, as now, what was deemed good taste in performance style, le bon got, varied
enormously the criticisms of and contradictions between the French and Italian schools at
the turn of the 18th century are infamous. The typical elegance and poise characterised by
the dances of the French overture suite contrast greatly with the extrovert virtuosity
displayed in the Italian concerto, both sometimes far removed from the rules of the Berlin
school described by the often conflicting accounts of Quantz and C.P.E. Bach.
Many controversies arise from the fact that details of performance style transcend notation,
not only with expression but also when interpreting rhythms and adding
embellishments. Inegalit was assumed by many non-French composers such as Bach,
Telemann and Purcell. This is a loosening of the rhythm, where equally written separate
notes are swung in a strongweak manner. Generally a smooth articulation, it affects
notes that are half the value of the main beat, particularly during stepwise motion, unless
counter-indicated by slurs, dots, or instructions such as gale.

The limits of notation and traditional shorthand may also necessitate over-dotting in dotted
rhythms, as well as aligning semiquavers with pervading triplets and eliminating other
rhythmic inconsistencies. This happens especially when intensifying or confirming the
musical affect , a word used to describe the emotion of the moment. Bear in mind that
making the music consistent may sometimes defeat the composers wishes, especially
when intensification or expression are called for.
Details of phrasing and dynamic shading are expected although not notated. In his Tables,
showing the proper execution of each note, Quantz indicates strong, weak and crescendo
moments but says that you must not always take these words in their extreme degree; you
must proceed as in painting, where so-calledmezze tinte or half-tints are employed to
express light and shadow. Notated dynamics, mostly piano and forte (or dolce and forte),
sometimes indicate solo and tutti passages rather than extremities of volume. The
correctness of instrumental imitation of vocal slurs is also debatable: a certain adding of
slurs is recommended, as is being true to the composers score, although inconsistencies
are common in original sources and markings between parts sometimes even oppose.
Cadential trills and other ornamentation were also assumed. Rules of upper-note trills are
well documented and generally fast notes require a quick trill with little emphasis on the
upper note whereas slow notes demand more expressive, possibly accelerating trills with
appoggiatura and maybe a termination. French-style music requires decoration by way of
trills, mordents, battements, port de voix and other twiddles, whereas Italian style and
cadenza points require improvisation with harmonic consequence: there are many writtenout examples and explanations of both types to learn from. Bach included embellishments
in his scores rather than risking defamation of his art by overzealous performers.
The quintessence of Baroque style is hierarchy, with some notes taking more importance
according to certain rules for example first beat stronger than second, dissonance
stronger than resolution, with notes grouped and graded like syllables in a word. Musical
language was seen as a rhetorical expression of various Passions, such as Fury,
Resolution, Grief, Pleasure, like speech, combining poetic nuance with punctuation
between phrases and sub-phrases. Leopold Mozart recommends that good violinists
should know their grammar and syntax as well as being great grammarians, or better still
rhetoricians or poets.
Choice of tempo, too, has a huge impact on style, so consultation with first-hand
contemporary description is recommended. Detailed descriptions of the character of
various dances and their relative tempos are abundant and where no specific markings are
given considerations include harmonic pace, the nature and complexity of the counterpoint
conventions of time signatures, exact meanings of given tempo and character markings
and any affiliation to dance. These may in turn be affected by traditional mood associations
coming from key or melodic make-up, compositional intent and even the size and
resonance of the performing venue.
Modern-day

tolerance

of

dissonance

has

been

raised

by

post-Classical

tonal

developments, over-shadowing many subtleties of Baroque harmonic tension. The

strengths of various figured-bass dissonances are carefully listed in Quantzs Art of Playing

the Flute, but for the little experienced, he suggests simply playing louder when there are a
lot of numbers!
The omnipotent rule of down bow, codified in Muffats observations of Lullys bowings,
reflects the importance of hierarchy, organising strong beats to be played with a down bow,
assuming that the up bow is the weaker. The coveted equalisation of down- and up-bow
strokes which developed later is inappropriate when administering Baroque bowings and
articulation, regardless of which bow is being used. With the modern bow this effectively
means working against certain inherent design features in order to make sense of the rule.
The ideal sound is pure and sweet. Mozart demands that violinists aspire to the qualities of
the voice; he also advises playing with earnestness and manliness, criticising harebrained violinists who imagine the greatest inaudibility to be sweet. He complains too
about shrill sounding open strings which pierce the ear too sharply.
Vibrato (also called tremolo or close shake) was considered an improvement to the sound
rather than an integral ingredient. Mozart describes it as a small, slow movement used to
intensify the expression created by the bow and criticises its consistent use, likening it to
the appearance of palsy. Geminiani, after praising the effect of vibrato on long notes, writes
that when it is made on short notes, it only contributes to make the sound more agreeable
and for this Reason should be made use of as often as possible. It is not known precisely
how more agreeable sounds, but in general the many descriptions imply that the preferred
vibrato would not have been automatic, particularly wide or continuous.
Orchestrally, it may be that a consensus of staying in low positions, using well-sounding
open strings and little vibrato would offer the aspired-to purity of sound. In the solo
repertory higher positions were normal fare: the methods by Geminiani, Herrando and
Nogueira clearly indicate shifting and practising in position, while Mozart recommends that
slurs should be kept on one string wherever possible for an even tone.
Mozart suggests slurs for notes at close intervals but separate strokes for notes far apart
and recommends that this should be arranged to give pleasant variety. Quantz, whose
flute method includes a wealth of material specifically aimed at string players, also calls for
variety: You must adjust your tonguing and bowing in such fashion that you give each note
greater or less stress.
When playing separate notes with greater or less stress (and organising them into groups
without slurring), a varied bow speed, as well as weight, is invaluable. During his lengthy
exposition of bow divisions, Mozart advises that the stroke in soft tone must be drawn very
slowly; when increasing the tone somewhat quicker; and in the final loud tone very quickly.
He warns that each tone, even the strongest attack, has a small, even if barely audible,
softness at the beginning of the stroke, for it would otherwise be an unpleasant and
unintelligible noise.
Modern bow design and musical demands have encouraged power and continuity of
sound, while the tapering of the Baroque bow favours the release of sound, its lightness
and lower balance point assisting phrasing off with air between the strokes, as well as
articulations which maintain a thread of sound between notes, such as bow vibrato, where

repeated notes are played in a single bow. The slur is consistently described as a phrasing
off, an emphasis on the first note followed by a release. Prepared and followed by asilence
darticulation, a small clearance or an almost imperceptible placement, the way of playing
a slur varies according to the prevailing musical character. This is also the case with
appoggiaturas.
Lifting the bow at dotted rhythms is frequently recommended, although the amount of lift is
not quantified. Geminiani gives a selection of signs including a staccato, where the bow is
taken off the string at every note, and Mozart summarises different expressions: Merry and
playful passages must be played with light, short and lifted strokes, happily and rapidly; just
as in slow, sad pieces one performs them with long strokes of the bow, simply and tenderly.
The attention to detail and contrast naturally demands the eradication of any technique that
promotes equality, such as spiccato, sautill, martel or dtach, unless specifically
indicated. Even when equal stress is implied, contention arises: daggers also indicate
separation or emphasis and according to Quantz, the instruction staccato rarely intends a
single species of note.