JAVS Summer 2021

Example 3: Biber, Harmonia Artificiosa-Ariosa Partia VII, Praeludium, mm. 47–53, Wimmer edition.

from the time of Praetorius. Gruppi (cadential turns) need to be “scherffer als die Tremoli angeschlagen warden” (more sharply attacked than tremoli ) and a clear, sharp performance is required of tiratas (fast runs up and down) (Praetorius 1619 p. 236). 12

canon affect by bringing out canonic entrances. Decaying the sound and retaking the bow on the long dotted half notes allows the canon affect to be heard more clearly. Each dance movement should be approached with this same strategy: choosing bowing techniques that will intensify whichever affect the performer seeks to evoke. The syncopations, suspensions, and dissonances in the Allamande (ex. 5) evoke a sorrowful, cantabile affect. In this case, each tied note should be held for its full value with few retakes. In contrast, the Sarabande (ex. 6) should be steadfast and declamatory, with somewhat heavy yet lifted bow-strokes that emphasize the 3/4 meter. As the playful Gigue (ex. 7) begins with a single voice and without a downbeat, this movement could be played nearly attacca following the Sarabande. In order to bring out its playful affect and emphasize the canonic quality of each restless voice, every rhythmic figure should be played in a short manner with separate bowings.

In the Praeludium, Biber took great care to notate different articulations, slurs, and a variety of rhythms.

In ex. 3, Biber added slurs to mm. 47–49 to de-emphasize individual beats and create a large gesture. In the Più presto section, I would encourage lifted down-bows and up-bows from mm. 52–56 for sharper articulations, resulting in a greater contrast and stronger affect of joy. This Più presto section should also be played with a slight lift after each dotted sixteenth note, as instructed in the stylistic writings of Leopold Mozart and Quantz. 13 Three distinct bowing articulations should be demonstrated throughout the Praeludium’s slow sections: the weight and emphasis of down-bows, the lift of bow retakes, and decays on long notes. In this opening Grave , down-bow retakes should be taken after each dotted half note (ex. 4). These down-bows emphasize the organ

Journal of the American Viola Society / Vol. 37, 2021 Online Issue

11