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eighteenth century as exemplified by an unpublished manu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 PLILERioliists

Luiz Carlos de Moura Castro

Pianist

Monday, October 11, 1976 8:15 p.m.

Sonata No. X in G Major, Op. 96 I. Allegro moderato

11. Adagio espressivo 1ll. Scherzo: Allegro IV. Poco allegretto

Recital Hall

Beethoven

Intermission

Sonata 1. Allegro vivo

11. Intermde l1l. Finale

Debussy

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 PlilerViolinist

in a

Recital of Chamber Music

assisted by

Dayle Higgs, piano Gloria Lucey, violin

Monday, January 31, 1977

Ronin Hough, oboe Ruth Gibson, viola

Monte Knutson, violoncello

8:15 p.m.

Sonata in G Major, BWV 1038 I. Largo

11. Vivace I1. Adagio IV. Presto

Mr. Pliler, Dr. Hough, Mr. Knutson, Miss Higgs

String Quartet in G Major, Op. 77 No. 1I.

II. Ill. IV.

Allegro moderato Adagio Menuetto - Presto Finale - Vivace

Mr. Pliler, Miss Lucey, Mrs. Gibson, Mr. Knutson

Recital Hall

Bach

Haydn

Intermission

Piano Trio in C Minor, Op. 101Allegro energico Presto non assai Andante grazioso 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

I. II.

IV.

Brahms

North Texas State University School of Music

presents

Richard Pliler Violinist

Michael Riha Pianist

Monday, November 21, 1977

Sonata in D Major, Op. 9 No.3 I. Un poco andante

II. Allegro III. Sarabande - Largo IV. Tambourin - Presto

Elegie for Viola and Piano

Five Melodies, Op.35 bis I. Andante

II. Lento ma non troppo III. Animato ma non allegro IV. Alls;;retto leggero e scherzando V. Andante non troppo

8:15 p.m. Recital Hall

Leclair

Vieuxtemps

Prokofiev

Intermission

Sonata No.I in G Major, Op.78 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

Brahms

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

III. Adagio

IV. Vivace

V. Gavotta-Allegro

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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, Harcourt, 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 Washington 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.

32

-

33

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 Bibliographical 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 Tonkunst, 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 Lexikon 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 Arcangelo 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.