JAVS Summer 2021

Example 13. Biber, Harmonia Artificiosa-Ariosa Partia VII, Praeludium, mm. 43–46, Wimmer edition.

piano opening in the Aria serves to soothe after the busy Gigue, and a mezzo-forte start to the Trezza offers stronger contrast to the Aria with its joyful dance character. Finally, beginning the Arietta Variata in a piano dynamic creates further distinction in its affect and leaves room to grow throughout the long, complex movement.

strumming. One last important consideration is each instrument in the continuo ensemble does not need to play every note in every movement. The instrumentation should vary through the piece—and even within movements such as the Praeludium and Arietta Variata— to enhance affect and create the most contrast possible.

Example 14. Biber, Harmonia Artificiosa-Ariosa Partia VII, Praeludium, mm. 57–60, Wimmer edition.

Basso Continuo

Conclusion

In true seventeenth-century Baroque style, Biber’s basso continuo writing includes a bass line and figures with no further realization or instrument specificity, again providing performers with freedom in their decision making. In order to more closely capture the variety of affects in each movement, many players in the seventeenth century would have elected to use multiple instruments in their continuo section. Considine suggests that Partia VII is well-suited for an organ continuo. 19 Considering how many measures a single pedal-point note is often held in the continuo, I agree that organ could be a useful addition in the continuo group. I would also strongly advocate for the inclusion of harpsichord for its rhythmic, percussive quality; cello, for its flexibility in sustained notes, its dynamic range, and similar timbral color to the viola; and theorbo or guitar, for its ability to achieve different textures through plucking and

Partia VII of Biber’s Harmonia Artificiosa-Ariosa is a unique, imaginative, virtuosic display of musicianship. In order to realize Biber’s musical vision in the most effective, authentic, moving way possible, it is important to prioritize the storytelling flow of affect, in part through diversity of sound. The best way to accomplish this is to use the tools of varied articulation, contrasting and shaping dynamics, graceful ornamentation, and a varied and flexible continuo ensemble. This piece can effectively be “translated” from viola d’amore to modern viola and incorporating historically appropriate performance techniques will result in a strong, effective, moving performance.

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

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