JAVS Summer 2021

Example 11. Biber, Harmonia Artificiosa-Ariosa Partia VII, Praeludium, mm. 33–35, Wimmer edition.

Dynamic variance was also considered part of ornamentation and embellishment in the seventeenth century. 16 In addition to specifying dynamic levels at the start of each section, I incorporated many crescendos and diminuendos to emphasize the contour of fast scales (exs. 12 and 13). This increases the strength of each affect, adds aural interest for the listener, and, again, clarifies the canonic conversations between the violas. In the Praeludium, there is one specific dynamic ornament I added in m. 58 of the Viola I part: the esclamatione (ex. 14). As Dickey explains, “Caccini describes it in detail, claiming that it is the principal means of moving the affections. It consists, he says, in beginning the note by diminishing it—that is, beginning strongly and immediately tapering—so that one can then strengthen it and give it liveliness.” 17 The thirty-second

notes that follow this half note already have a strong ornamental expression—emphasized by the tenuto I added—so I observed this expressive moment as a perfect opportunity to incorporate the esclamatione ornament . I added ornaments throughout each of the dance movements and the final Arietta Variata in this same manner. The addition of varied trills, mordents, and appoggiaturas on the repeats of each movement adds grace, dignity, poise, and clarity to the different affects of each movement. The dynamics I added in the dance movements and Arietta Variata serve to “persuade and . . . entertain the audience’s intellect and emotions.” 18 Beginning the Allamande at piano emphasizes its sorrow, particularly after the exciting, passionate Praeludium. The Sarabande must begin forte to establish its stately, bold affect. This pattern continues for the Aria and Trezza: a

Example 12. Biber, Harmonia Artificiosa-Ariosa Partia VII, Praeludium, mm. 36–38, Wimmer edition.

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

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