Airc
MATTHEW DUBOURG: CORELLI WITH A FLOURISH,
A LECTURE RECITAL, TOGETHER WITH
THREE RECITALS OF SELECTED WORKS
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
Doctor of Musical Arts
By
Richard A. Pliler, B. M., M. M.
Denton, Texas
May, 1979 C Copyright by
Richard Alan Pliler
1979
ii Pliler, Richard Alan, Matthew Dubourg: Corelli With A
Flourish, A Lecture Recital, Together With Three Recitals of Selected Works. Doctor of Musical Arts (Violin Perform ance), May, 1979, 35 pp., bibliography, 38 titles.
The lecture recital, presented on November 27, 1978, explored the method of "gracing" employed in the perform ance of solo violin sonatas in the first quarter of the eighteenth century as exemplified by an unpublished manu script of the embellished version of Corelli's Sonata in
E Major, Op. V, No. 11, by the English violinist Matthew
Dubourg. A general comparison was made with other contem porary examples, including in particular Geminiani' s
"graced" version of Corelli's Sonata in A Major, _p. V,
No. 9. Dubourg's manuscript was performed after the lecture.
In addition to the lecture recital, three other public recitals were performed, including solo compositions for violin and for viola, and chamber works including violin.
The first recital, on October 11, 1976, included works by Beethoven, Debussy, and Saint-Saens.
The second recital was on January 31, 1977, consisting of chamber works by J. S. Bach, Haydn, and Brahms. The third recital, on November 21, 1977, included works by Leclair, Vieuxtemps, Prokofiev, and Brahms.
All four programs were recorded on magnetic tape and are filed with the written version of the lecture material as a part of the dissertation. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North
Texas State University Library.
iii TABLE OF CONTENTS
PERFORMANCE PROGRAMS
First Recital.&...... *.. .. . v
Second Recital ...... *0.. *. * *. . vi
Third Recital ...... *. . . .0.. . vii
LectureRecital...... viii . . . . .
MATTHEW DUBOURG: CORELLI WITH A FLOURISH ...... 1
APPENDIX ...... 18
BIBLIOGRAPHY ...... 32
iv North Texas State University School of Music presents Richard Pliler Violinist
in a Lecture Recital Matthew Dubourg: Corelli With A Flourish assisted by Charles Brown,* harpsichord Monte Knutson,'cello
Monday, November 27, 1978 5:00 p.m. Recital Hall
Program
Corelli Sonata in E Major, Op. 5 No. 11 (grac'd. by Dubourg) 1. Preludio-Adagio 2. Allegro 3. Adagio 4. Vivace 5. Gavotta-Allegro
*NTSU faculty
This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.
viii North Texas State University School of Music presents
RICHARD PLILER ioliists
Luiz Carlos de Moura Castro Pianist
Monday, October 11, 1976 8:15 p.m. Recital Hall Sonata No. X in G Major, Op. 96 Beethoven I. Allegro moderato 11. Adagio espressivo 1ll. Scherzo: Allegro IV. Poco allegretto
Intermission Sonata Debussy 1. Allegro vivo 11. Intermde l1l. Finale
Introduction and Rondo Capriccioso, Op. 28 Saint-Sadns
This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.
V North Texas State University School of Music presents Richard Pliler Violinist
in a
Recital of Chamber Music
assisted by
Dayle Higgs, piano Ronin Hough, oboe Gloria Lucey, violin Ruth Gibson, viola Monte Knutson, violoncello
Monday, January 31, 1977 8:15 p.m. Recital Hall
Sonata in G Major, BWV 1038 Bach I. Largo 11. Vivace I1. Adagio IV. Presto Mr. Pliler, Dr. Hough, Mr. Knutson, Miss Higgs
String Quartet in G Major, Op. 77 No. 1 Haydn I. Allegro moderato II. Adagio Ill. Menuetto - Presto IV. Finale - Vivace Mr. Pliler, Miss Lucey, Mrs. Gibson, Mr. Knutson Intermission
Piano Trio in C Minor, Op. 101 Brahms I. Allegro energico II. Presto non assai Andante grazioso IV. Allegro molto Mr. Pliler, Mr. Knutson, Miss Higgs
This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.
vi North Texas State University School of Music presents
Richard Pliler Violinist
Michael Riha Pianist
Monday, November 21, 1977 8:15 p.m. Recital Hall Sonata in D Major, Op. 9 No.3 Leclair I. Un poco andante II. Allegro III. Sarabande - Largo IV. Tambourin - Presto
Elegie for Viola and Piano Vieuxtemps Five Melodies, Op.35 bis Prokofiev I. Andante II. Lento ma non troppo III. Animato ma non allegro IV. Alls;;retto leggero e scherzando V. Andante non troppo
Intermission
Sonata No.I in G Major, Op.78 Brahms I. Vivace ma non troppo II. Adagio III. Allegro molto moderato
This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.
vii MATTHEW DUBOURG: CORELLI WITH A FLOURISH
It is generally known today that the performance of most Baroque music involved improvised ornamentation of the melodic framework provided by the composer. In order better to understand the methods of embellishment employed by performers in that time, it is necessary to investigate not only the treatises on performance practice, but the examples of ornamented works which have come down to us.
In the middle of the Baroque period it was not common to write out a fully elaborated edition (and, indeed, it may be assumed that the authors of those examples which do exist did not adhere rigidly to their own versions), but, fortunately, a few performers did notate pieces purporting to be embellished in their own styles. An important, and as yet unpublished, set of solo violin and continuo sonatas composed by Arcangelo Corelli and "graced" by Matthew Du bourg sheds light on the more complex aspects of violin or namentation in the first quarter of the eighteenth century.
Matthew Dubourg was a child prodigy on the violin, born in London in 1703, the son of a dancing master. Both
Burney and Hawkins knew Dubourg, and it is from them that
1 2 we have most of our information on his career. At the age of nine he played a "solo" by Corelli to great success while standing on a stool at one of the weekly concerts sponsored in London by Thomas Britton, the so-called
"Musical Small-Coal Man." In 1714 Dubourg performed at a benefit concert at the great hall on James Street, and, about that time, became a pupil of the famous Italian violinist, composer, and (later) author of pedagogical works for violin, Francesco Geminiani, who had recently arrived in London. Geminiani had been a student of Corelli in Rome, and thus Dubourg became one of Corelli's artistic
"grandsons." No more is heard about Dubourg until his first visit to Dublin in 1724 and his marriage to Frances
Gates in Middlesex in 1727.
The following year, at the age of twenty-five, Dubourg succeeded Johann Kusser as Master and Composer of the State
Music in Ireland. Lord Essex, a pupil of Geminiani, had originally arranged that the post be offered to his teacher, but, probably because he was a Roman Catholic, Geminiani declined the position and recommended Dubourg. During his service in Dublin, Dubourg set a large number of odes for the celebration of royal birthdays, and led the Viceroy's 3
band. He assisted at the performances given by Handel
during his visit there in 1742, which included the first performance of Messiah.
Dubourg visited England frequently, and, while retain
ing his post in Dublin, also served the Prince of Wales from
1735, and in 1752 succeeded Michael Festing, another pupil
of Geminiani, as leader of the King's band. In 1761, he was appointed Master of Her Majesty's Band of Musick at a
yearly salary of two hundred pounds. Dubourg left Ireland
in 1765 and died two years later in London at the age of
sixty-four. He is buried in Paddington churchyard.
Matthew Dubourg published very few works, though he
is said to have left, in addition to the odes, ". . . in
numerable solos and concertos which he composed for his
own public performance." 1 He was, however, a brilliant
performer, fond of exhibiting his skill. Burney writes:
I saw him at Chester in 1744, and had the pleasure of accompanying him in the fifth solo of Corelli, which he performed in a manner so superior to anyone I had then heard, that I was equally astonished and delighted;
lCharles Burney, A General History of Music (New York, n.d.), p. 998. 4
particularly with the fulness of his tone and spirit of his execution. 2
Much earlier, a Mrs. Delaney wrote on November 11, 1727, of a concert in honor of St. Cecilia at the Crown Tavern:
"Dubourg was the first fiddle, and everybody says he exceeds all the Italians, even his master Geminiani. "
The most frequently quoted anecdote concerning Dubourg has him introducing a cadenza of such length and extraordi nary tonal excursions into the ritornello of an air that, when at last he reached a conclusion, Handel, who was conducting, exclaimed loudly enough to be heard by an amused audience, "Welcome home, Mr. Dubourg!,"
Sir John Hawkins remarks that "Dubourg' s performance on the violin was very bold and rapid; greatly different from that of Geminiani, which was tender and pathetic."4
Both their styles represent a high point of musical ornamentation, whose long and important history is clearly beyond the scope of this report. But the Dubourg manuscript
2 Ibid.
3E. van der Straeten, The History of the Violin (London, 1933), 1, 401.
4 John Hawkins, A General History of the Science and Practice of Music (New York, 1963), II, 892. 5
is of more than passing interest, for it demonstrates the method of "gracing" practiced by the second generation of
Corelli's pupils. Further, it is one of the rare examples of "graces" by an English violinist among the mostly un published versions of ornamented Corelli sonatas from that time.
Corelli's Opus V, containing six sonate da chiesa, five
sonate da camera, and La Folia, all for solo violin and continuo, first appeared, without "graces," in Rome in 1700.
Ten years later, Estienne Roger published a new edition in
Amsterdam, these including ornamented versions purportedly by Corelli himself of each of the two slow movements of the
first six sonatas. Other "graced" versions of sonatas from
2pus V include:
1. all four movements of Sonata No. 9, "graced" by
Geminiani probably between 1710 and 1723, and published by
Sir John Hawkins in 1776;
2. the "Walsh Anonymous," a recently discovered manu
script now owned by David Boyden, containing nineteen
Corelli pieces, very highly "graced," and dating from 1711- 6
1726;5
3. five movements in the MS Antoniana Padua, "graced"
by Tartini, which cannot be dated; and
4. a set of ornamented elaborations of Corelli's
sonatas composed, according to Quantz,6 by Nicola Matteis
(the younger) before c. 1720, but these have not come down
to us.
The first mention of the Dubourg manuscript is that
it was sold at auction shortly after the death in 1915 of
the collector W. H. Cummings. It was apparently acquired
by an individual, possibly the bookseller Quaritch, from whom Alfred Cortot purchased it in March of 1926. After
Cortot's death in 1962, the manuscript passed to the anti
quarian music dealer Albi Rosenthal, and from him to the
great Corelli scholar, Marc Pincherle.7 At the auction of
Pincherle's collection in 1975, the work was again acquired
5David Boyden, "Corelli's Solo Violin Sonatas 'Grac'd' by Dubourg," Festskrift Jens Peter Larsen (K4benhavn, 1972), p. 115. 6 Johann Joachim Quantz, On Playing the Flute (New York, 1966), p. 180.
7 Boyden, "Corelli's Solo Violin Sonatas," p. 116. 7
by Rosenthal, who sold it to an anonymous purchaser.8
Dubourg's manuscript consists of sixty pages, bound in
red morocco, and stamped boldly on the front:
CORRELLIS
SOLOS
GRAC'D BY
DOBURG
The pages numbered 2-45 display the Dubourg "graces" for
two slow movements of Corelli's Sonata No. 5, one slow move ment from Sonata No. 7, and both slow and fast movements of
Sonatas Nos. 8-11, a total of nineteen "graced" movements.9
A watermark of a prancing horse found on the last fly
leaf suggests, but does not prove, that this manuscript
originates c. 1723. That date is consistent, however, with
the fact that Dubourg was, at age twenty, playing many
concerts in London, and probably wrote out these elabora
tions for his own use. In any case, the manuscript probably was written before Dubourg left for Ireland in 1728.10
8 Letter from Vincent Duckles, librarian, University of California at Berkeley, October 25, 1978.
9Boyden, "Corelli's Solo Violin Sonatas," pp. 114, 116.
1 0 Ibid., p. 117. 8
Each line of music is written on two staves, the lower
being a faithful copying of Corelli's bass line, though with somewhat fewer figures than the original. The upper
staff contains Dubourg's version of the solo part. There
is no attempt to align the two parts, and the elaborate
"graces" are written with only approximate rhythmic nota
tion. It requires, therefore, careful study of Dubourg's
"graced" melody and comparison with the harmony and with
Corelli's original line to determine the correct rhythmic
rendition of the solo part.
It is clear that this copy was made to be played from,
rather than simply as a reference work or for pedagogical
use, because Dubourg, or his copyist, has compressed the
notation very tightly, and, in the last movement of Sonata
No. 11, has been forced to complete the last two measures
on a short, small staff drawn in the lower margin, to allow
each movement to be played without having to turn the page.
Still, it should be pointed out that the only indications
of bowing or articulation occur between tied notes. Slurs must be added, especially in the slow movements, in accord
ance with the general character of each passage. 9
While "gracing" a melody may alter the character of the composer's original, it was a practice expected of the performer in the early eighteenth century, especially in slow movements. This becomes particularly obvious when listening to an unornamented rendition of slow movements, such as those by Corelli, where the melodies are generally so stark and slow-moving as to make it inconceivable to play them as they stand. Not only were conventional ornaments
such as trills and mordents expected, and even sometimes
indicated, but passing notes, running flourishes, and arpeg giations were improvised by the performer. These not only
filled in the intervals of a slow-moving melody, but also accentuated and complicated the harmony, and allowed for more virtuosic brilliance on the part of the player.
Elaborations such as these are properly called "graces" in distinction to the more conventional ornaments. It is
through the study of these "graces," which follow less
formal rules of application, that we come to a greater knowledge of the performance practice of the early eight
eenth century, especially with respect to Italian sonatas.
Particularly in slow movements, "graces)" typically
center around the original melody note, but also frequently outline the underlying harmony through arpeggiation. A change of register, transferring the melody either up or down by an octave, serves to alter the timbre and brilliance of a passage or even a single note. This practice becomes more elaborate rather rapidly in the first quarter of the eighteenth century, as seen through a comparison of
Corelli, Geminiani, and Dubourg.
Corelli's ornaments are very conservative, generally adding only small flourishes around key notes, and short cadenza-like passages at selected cadences. Geminiani, however, is much freer in adding non-harmonic tones and octave transpositions. A demonstration of this difference will clearly show how Geminiani, sometime between 1710 and
1723, "graced" the opening slow movement of Corelli's
Sonata No. 9, as published in 1776 by Hawkins in his General
History of the Science and Practice of Music. Hawkins writes:
The following solo of Corelli, written as Geminiani used to play it, and copied from a manuscript in his own hand-writing, is here inserted as the best specimen that can be given of the style and manner of his execution.1 1
lHawkins, General History, II, 904. 11
Johann Quantz, in his Essay of a Method for Playing the
Flute, published in 1752, says that the elaboration of a melody ". . . must be undertaken only after the plain air has already been heard; otherwise the listener cannot know if variations are actually present." 1 2 This method will now be adopted in the performance of each section of the
initial movement of Sonata No. 9, first as Corelli wrote
it, and then its repeat as Geminiani played it.
(PERFORMANCE: Corelli-Geminiani Sonata No. 9, I. Preludio)
Geminiani has treated Corelli's original in a typically
free way, while retaining its outline and stately "affect."
Three principles of "gracing" seem apparent: 1. the breaking
up of eighth-note values into arpeggiated figures based on
the underlying harmony; 2. adding appoggiaturas and trills;
and 3. a short but rapid cadential flourish at the end of
the movement.
These same principles are also employed by Dubourg, but with still greater freedom and complexity. In Example I may be seen the first five and one-half measures of the
opening movement of Sonata No. _1, marked Preludio-Adagio,
1 2 Quantz, On Playing the Flute, p. 139. 12 with Corelli's original melody on the top staff, Dubourg's
"graced" version next, and the figured bass line below.
It should be pointed out ,that Corelli's edition was written with a key signature of only three sharps, the fourth being added as an accidental in both parts. For ease of compari son, the D-sharp has here been put in the signature.
The two melody lines clearly contrast the rather sparse
Corelli version and Dubourg's, with its profusion of notes and rapid rhythms. In general, Dubourg is very lax about correct rhythmic notation, but, for purposes of modern performance and study, his version has here been rendered precise, even when two hundred and fifty-sixth notes become necessary, as in measure six.
Trills are, of course, to be played starting from the upper note. Frequently, though not always, the upper note is written in, whether the trill is approached by leap, as in measure five, or by a descending scale, as in measure one. Sometimes trills are left out at obvious places, such as those seen in parentheses in the first and third measures.
Appoggiaturas are generally written as small notes with reversed stems, as at the beginning of the movement. The downward scale connecting the opening two main notes is a 13 common device in "gracing," and constitutes what in England was called a "run," but is more often referred to by its
Italian name, tirata. "Gracing" through arpeggiation of the harmony, such as in the middle of the second measure, is a method abundantly employed by Dubourg. At the second beat of measure three may be seen a compound ornament, made up of a mordent, a trill, and a turn.
The cadential flourish in Geminiani' s "graces" was reserved for the final cadence, but, in Dubourg, flourishes are to be found at internal cadences as well. The passage
in the first half of measure six illustrates how Dubourg has
elaborated on the cadential formula in Corelli's melody.
Here there are so many notes to fit in that the tempo must necessarily be slowed. It should be noted as well that the general direction of Dubourg's flourish is upward, while
Corelli's line is consistently downward.
The second movement is an Allegro (Example II). Dubourg begins exactly like the Corelli melody, and in the second measure departs by little more than an octave shift. How
ever, a major difference in the two versions occurs in
the next two measures, where Corelli's somewhat monotonous
eighth-note movement is enlivened by Dubourg's passage work. 14
Throughout this Allegro Corelli's original arpeggiated and cross-string sixteenth-note passages are retained unchanged by Dubourg. But Corelli's sequence from measures nine through twelve is greatly altered and made more interesting by Dubourg's non-sequential invention, and by the filling in of the rests.
The third of the five movements of this sonata da camera is marked Adagio (Example III), and is in the key of
C-sharp minor, the relative minor of the E-major of all the other movements. Only nine measures in length and ending in a half-cadence, this movement is clearly not as heavily
"graced" as was the Preludio. Some half-notes remain un decorated, others ornamented only by appoggiaturas. The opening ornament is again only a written out mordent plus trill plus turn. In this movement, trills are found to be written in three fashions: 1. as at the second beat of measure three, without the upper note written in; 2. as at the end of the same measure, with the upper note written as a large note; and 3. as at the third beat of measure five, where the upper note is written as a small appoggiatura.
Despite their different notations, all of these trills are played similarly. 15
The fourth movement, Vivace (Example IV), is again a binary form with each section repeated. For the first fifteen measures, Dubourg follows Corelli's line very closely, only adding trills and appoggiaturas which might even have been intended by Corelli. The sequence in the ninth through the fifteenth measures is very much like
Corelli's, unlike that of the second movement, where Dubourg abandoned the imitative nature of Corelli's sequence. In measures sixteen through nineteen, Dubourg makes a running sixteenth-note pattern out of the Corelli eighth-note cadence formula. After measure twenty-two, Dubourg falls into a triplet-sixteenth passage, filling in and following the outline of Corelli's original, a practice Dubourg uses throughout the remainder of the movement. There is an occasional changing of the octave of some notes in Corelli's angular line to accommodate Dubourg's scalar "graces," and the movement ends one octave higher than the original.
The last movement (Example V) is the most interesting of the three fast movements, for Dubourg has taken Corelli's original sixteen-measure Gavotte and "graced" it with four new variations. The original Gavotte is exactly retained by Dubourg in its two-four time signature and its two-part 16 structure, and Corelli's bass line and harmonies are used
for each variation.
Variation I changes abruptly to a four-four time signa ture, with the bass moving only half as fast as the original.
In this variation, the first half (eight measures) is de
signed around a syncopated rhythm (eighth-quarter-eighth),
and the second half of the variation around running scales
in sixteenth-notes.
The second variation, still in four-four meter, moves
entirely in eighth-notes, exploiting wide leaps across the
strings. Further, unlike the other variations, this one is
shortened by four measures in its second part. Those four measures in the original bass line constitute an internal
repetition which, it may be conjectured, Dubourg decided
was unnecessary in this slowest-moving of the variations.
Variation III returns to the two-four time signature
and the original quarter-note motion of the bass. The solo
line is made up of running and arpeggiated triplet sixteenth
note passages.
The final variation is in six-eight meter, and the bass
moves in quarter-eighth rhythm, above which the violin
traces a line in eighths and sixteenths, with a continuous 17 sixteenth-note passage, or flourish, just before the final cadence.
In all, Dubourg has expanded this movement from Corel li's sixteen measures to a total of seventy-six, providing a grander conclusion to this sonata. In the performance of the second and fourth movements, each section will be played first in the Corelli original, and then its repeat with
Dubourg's "graces." The other movements do not contain repeats, and therefore will be heard only in the "graced" version.
We are indeed fortunate that examples of "gracing" such as Dubourg's have come down to us, for they illuminate the practices of a period gaining wide popularity and apprecia tion in the last decades. It can be seen that in the relatively short period of the first quarter of the eight eenth century improvised "gracing" became much more complex and personal, and today's performer of sonatas from that period will do well to study the authentic musical language of that time. APPENDIX A
Corelli: Sonata in E Major, Op. V, No. 11
I. Preludio-Adagio
II. Allegro
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IV. Vivace
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6 S I asUAwbo BIBLIOGRAPHY
Books
Boyden, David Dodge, The History of Violin Playing from its Origins to 1761, London, Oxford University Press, 1965.
Burney, Charles, A General History of Music, New York, Har court, Brace and Co., n. d. [orig. pub. 1789].
Collection Musicale Marc Pincherle Icatalogue for the sale held in the Hotel Drouot, Paris, March 3-5, 1975J, Paris, Mes. Ader Picard Tajan, Commissaires-Priseurs Associes, 1975.
Dolmetsch, Arnold, The Interpretation of the Music of the XVII and XVIII Centuries Revealed in Contemporary Evidence, revised ed., Seattle, University of Washing ton Press, 1969.
Donington, Robert, The Interpretation of Early Music, new version, London, Faber and Faber, 1975.
, A Performer's Guide to Baroque Music, New York, Charles Scribner's Sons, 1973.
Frotscher, Gotthold, Auffihrungspraxis alter Musik, Locarno, Heinrichshofen's Verlag, 1963.
Geminiani, Francesco, The Art of Playing on the Violin, facs. ed., intro. by D. Boyden, London, n. p., 1952.
Hawkins, John, A General History of the Science and Practice of Music, new ed., New York, Dover, 1963 [orig. pub. 17763.
LeBlanc, Hubert, Verteidigung der Viola da Gamba, trans. by Albert Erhard lorig. pub. as Defense de la Basse de Viole, 1740], Kassel und Basel, B'.renreiter-Verlag, 1951.
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Moser, Andreas, Geschichte des Violinspiels, Berlin, Max Hesses Verlag, 1929.
Mozart, Leopold, A Treatise on the Fundamental Principles of Violin Playing, trans. by Editha Knocker [orig. pub. as Versuch einer gruindlichen Violinschule, 17563, London, Oxford University Press, 1948.
Pincherle, Marc, Corelli et Son Teps, Paris, Librairie Felix Alcan, 1933.
, Corelli: His Life, His Work, trans. by Hubert E. M. Russell, New York, W. W. Norton and Co., 1956.
Quantz, Johann Joachim, On Playin9 the Flute, trans. by Edward R. Reilly Sorig. pub. as Versuch einer Anweisung die Flote traversiere zu spielen, 17523, New York, Schirmer Books, 1966.
Rinaldi, Mario, Arcangelo Corelli, Milano, Edizioni Curci, 1953.
, "Il Problema degli Abbellimenti Nell' Op. V di Corelli," No. X of Quaderni Dell' Accademia Chigiana, Siena, Ticci Editore Libraio, 1947.
Smith, William C., and Charles Humphries, A Bibliography of the Musical Works Published y the Firm of John Walsh duri the Years 1721-1766, London, The Biblio graphical Society, 1968.
Straeten, E. van der, The Histry of the Violin (2 volumes), London, Cassell and Co., Ltd., 1933.
Tartini, Giuseppe, Treatise on Ornamentation, trans. and ed. by Sol Babitz [from the French translation by P. Denis of 17711, New York, Carl Fischer, 1958. 34
Articles
Babitz, Sol, "Corelli in the 20th Century," The Violin: Views and Reviews, second ed., Urbana, Illinois, The American String Teachers Association, 1959, pp. 26-27.
, "A Problem of Rhythm in Baroque Music," Musical Quarterly, XXXVIII (January, 1952), 533-565.
Boyden, David Dodge, "Corelli's Solo Violin Sonatas 'Grac'd' by Dubourg," Festskrift Jens Peter Larsen, K$benhavn, Wilhelm Hansen Musik-Forlag, 1972, pp. 113-125.
, "Geminiani and the First Violin Tutor," Acta Musico logia, XXXI (1959), 160-170.
, "The Violin and Its Technique in the 18th Century," Musical Quarterly, XXXVI (January, 1950), 9-38.
Moser, Andreas, "Zur Frage der Ornamentik in ihrer Anwendung auf Corellis Op. 5," Zeitschrift fU'r Musikwissenschaft, I (February, 1919), 287-293.
Pincherle, Marc, "On the Rights of the Interpreter in the Performance of 17th and 18th Century Music," trans. by Isabelle Cazeau, Musical Quarterly, XLIV (April, 1958), 145-166.
Raguenet, Frangois, "A Comparison Between the French and Italian Music," trans. attributed to J. E. Galliard 1709 , Musical Quarterly, XXXII (July, 1946), 411-436.
Starkie, W. J. M., "The Royal Irish Academy of Music," Music in Ireland, A Symposium, ed. by Fleischmann, Dublin, Cork University Press, 1952, pp. 104-105.
Encyclopedias
Bernsdorf, Eduard, ed., Neues Universal-Lexikon der Ton kunst, Dresden, Verlag von Robert Schaefer, 1856.
1.1 ". 101, W.T., -- I -I -- 35
Brown, James D., and Stephen S. Stratton, British Musical Biography: A Dictionary of Musical Artists, Authors and Composers born in Britain and Its Colonies, London, William Reeves, 1897.
Gerber, Ernst Ludwig, Neues Historisch-Biographisches Lexi kon der Tonkinstler, ed. by Othmar Wessely, Graz, Akademische Druck- u. Verlagsanstalt, n. d. lorig. pub. 1812-1814J.
Blom, Eric, ed., Grove's Dictionary of Music and Musicians, 5th ed., London, Macmillan and Co., Ltd., 1954.
Musical Scores
Chrysander, F., and J. Joachim, eds., Les Oeuvres de Arcan gelo Corelli, Vol. III, London, Augener, n. d.
Ferand, Ernest Thomas, ed., Die Improvisation in Beispielen aus Neun Jahrhunderten Abendlandischer Musik, K8ln, Arno Volk Verlag, 1956.
Moffat, Alfred, ed. and arr., Old English Composers: _Ten Pieces for Violin and Piano, New York, G. Schirmer, 1911.
Schmitz, Hans Peter, ed., Die Kunst der Verzierung _im _18. Jahrhundert: Instrumentale und Vokale Musizierpraxis in Beispielen, Kassel und Basel, Barenreiter, 1955.
Unpublished Materials
Huthmaker, Roland T., "Bowing Techniques as Practiced by Arcangelo Corelli and His Students," unpublished master's thesis, School of Music, North Texas State University, Denton, Texas, 1968.