Basic performance issues of the full voice accompaniment style in France in 1690–1750 in the light of selected treatises, part 2: The structure and harmonic language of the full voice rendering of basso continuo
Journal Title: Notes Muzyczny - Year 2015, Vol 1, Issue 3
Abstract
It is the second article being part of the cycle describing the basic performance issues of the full voice accompaniment style in France in 1690–1750 in the light of selected treatises. In his further considerations about the full voice in the French music of the end of the 17th century and the first half of the 18th century the author, acting on the assumption that all artists applying old performance practices should draw their knowledge and inspiration from available historical sources, attempts to find an answer to the question about the definition and role of accompaniment in the mentioned period, its features in the described style, and also the requirements a performer must face. On the basis of Nouveau Traité de l’Accompagnement du Clavecin, de l’Orgue et des autres Instruments by Monsieur de Saint-Lambert and both versions of the dissertation by Denis Delair basso continuo is described as an element belonging to science and art. Only the musician who learnt and perfectly mastered all theoretical rules of harmony and counterpoint and knew how to consciously use them was able to accurately read the intentions of the composer. The key role of accompaniment was in turn to actively support a soloist or a group of soloists. A person realizing the continuo should, thanks to using relevant means, participate in the creation of expression and dramaturgy of a piece, supporting the remaining musicians in conveying its rhetorical message. The means belong to two groups. The first one refers to the elements influencing the structure, the “skeleton” of realization of the continuo itself, i.e., the doubling of separate chord elements and harmonisation of the bass line. The doubling of intervals, which was the basic feature of the full voice style, was subject to specific rules. Understanding and mastering the harmonic language, crucial at all stages of learning figured bass, was also necessary for learning separate styles as even in one place and time there could be significant differences between them in this respect. These are the elements of the continuo the author focuses on in this article. He also lists the performance means belonging to the second group, which refers to the aesthetics of playing – adding ornaments to accompaniment voices, ornaments of the bass line (including diminutions and octave doubling), rhythmization of rendering, registration and diverse toucher. They expressed the French harpsichord idiom and gave the final shape to the realization of figured bass Their skilful usage, despite being necessary, proved the great artistry of a performer.<br/><br/>
Authors and Affiliations
Daniel Pochwała
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