Colori al clavicembalo
DOI:
https://doi.org/10.54103/mde.i10.1-2.20662Parole chiave:
Harpsichord, François Couperin, Girolamo Frescobaldi, Baroque style, InégalitéAbstract
The concept of "color" is invoked in music from the simplest pieces and is initially related to the range of intensity. Then it perfects itself in the ability to create a more complex relationship between elements such as timbre, style of writing, breath and articulation of language, acoustics of space. The palette becomes rich and complex. Among the instruments, the harpsichord is an extraordinary testing ground for musical colours, particularly in the French repertoire.
Riferimenti bibliografici
DONINGTON Robert, WRIGHT Peter, Coloration, in The New Grove Dictionary of Music and Musicians, II ed., London, Macmillan Publishers, 2001.
COUPERIN François, L’Art de toucher le clavecin, Parigi, 1716.
FRESCOBALDI Girolamo, Toccate d’intavolatura di cimbalo et organo, Libro primo, Roma, 1615.
HUBBARD Frank, DOWD William, Reconstructing the Harpsichord: The Surviving Instruments of the Blanchet Workshop, (pref. Gustav Leonhardt), Hillsdale, NY, Pendragon Press, coll. « The historical harpsichord » (no 1), 1984.
BAUMONT Olivier, Couperin, le musicien des rois, Paris, Gallimard, 1998.
MATHIS Thierry, Le clavecin en France aux XVII et XVIII siècles: découvertes organologiques et nouvelles techniques de l’interprétation, Éditions Delatour France, 2020.
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