JAVS Fall 2022

Quantz specifically states that the performer should know when to add appropriate appoggiaturas and shakes (trills) even when they are not indicated in the music. 7 He separates appoggiaturas into two categories: accented (on the beat) and passing. After reading his treatise, and then studying Anna’s scores, I realized that she notates accented appoggiaturas with a single flagged grace note and passing appoggiaturas with a double flagged grace note. The practice of indicating the actual value of the appoggiaturas was first advocated by C.P.E. Bach, a year after Quantz published On Playing the Flute . 8 Throughout his treatise, Quantz gives many examples of how important dynamics are when performing music. He describes the alternate use of forte and piano dynamics as light and shadow. As with ornamentation, he notes that the use of dynamics should be at the performer’s discretion, whether indicated in the music or not. 9 Dynamics should be used: 1. to express dissonances in the music 2. to make the music more interesting and keep the listener’s attention 3. to soften the second repetition of a phrase or motif 10 This last use of light and shadow is considered standard practice in Baroque performance today. I found it interesting that Anna would occasionally change the harmony under the second repetition of a phrase, propelling the performer and the listener on to the next section. The more I am learning about the musical style of this period, the more freedom I feel I have to interpret Anna’s sonatas in my own way. Every movement of these sonatas contain two sections, both of which are repeated. Today, we may think this rather repetitive; but the 18th century performer would have been able to draw from a wide variety of ornamentations, providing more interest with each reiteration. Footnotes 1 Michaela Krucsay, Zwischen Aufklärung und Barocker Prachtentfaltung : Anna Bon di Venezia und ihre Familie von “Operisten” (Oldenburg, BIS-Verlag der Carl von Ossietzky Universität Oldenburg, 2015), 59.

6 Marina Minkin, “ Anna Bon di Venezia: Life and Works with a Discussion of the Bon Family of Musicians” (Doctoral dissertation, Boston University, 1998), 12-14. 7 Johan Joachim Quantz, On Playing the Flute (New York, Schirmer, 1966), 96-97. 8 Ibid., 91. 9 Ibid., 277-278. 10 Ibid., 254-257, 124, 274-277.

Bibliography Arnold, David. “Music of the Ospedali.” Journal of the

Royal Music Association, Vol. 113, No. 2 (1988):156-159.

Goldmann, A. J. “Inch by Inch, an Operatic Jewel is Polished” New York Times, April 16 2018, https:// www.nytimes.com/2018/04/16/arts/music/bayreuth margravial-opera-house.html. Hornberger, Sheila Joy. In the Shadow of Greatness : Women Composers and their Flute Sonatas at the Prussian Court, 1730-1771. Master’s thesis, Pennsylvania State University, 2020. Krucsay, Michaela. Zwischen Aufklärung und Barocker Prachtentfaltung: Anna Bon di Venezia und ihre Familie von “Operisten.” Oldenburg: BIS-Verlag der Carl von Ossietzky Universität Oldenburg, 2015. Matthews, Mary. “The Life and Flute Music of Anna Bon di Venezia.” The Flutist Quarterly, Vol. 44, No.1 (2018): 20-25. Minkin, Marina. Anna Bon di Venezia: Life and Works with a discussion of the Bon Family of Musicians. Doctoral dissertation , Boston University, 1998 . Quantz, Johan Joachim. On Playing the Flute; trans. Edward R. Reilly. New York: Schirmer, 1966 (first published in 1752).

2 Ibid., 29. 3 Ibid., 35. 4 Ibid., 76. 5 Ibid., 88.

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Journal of the American Viola Society / Vol. 38, No. 2, Fall 2022