Szigeti on the Violin by Joseph Szigeti

By Joseph Szigeti

Recollections, insights into nice track and musicians, innumerable information for working towards violinists. contains 385 musical passages.

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Szigeti on the Violin

Memories, insights into nice tune and musicians, innumerable assistance for practising violinists. contains 385 musical passages.

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In other words, we cannot interpret this music through the dualisms that orient the emotional landscape of so much later music, for the technologies underlying modal composition presuppose a much broader range of possible expressive grammars. Just as (according to linguistic mythology) the Arctic languages that possess dozens of words for snow cannot find equivalents in English, so the aªective qualities of the various modes correspond to no readily identifiable types in later music. The implications of this untranslatability not only involve musical procedure but also bear witness to significantly diªerent structures of feeling.

I wish to thank Andrew Berish for first bringing these compositions and the importance of the Machiavelli/Verdelot collaboration to my attention. 8. Pietro Aron, Trattato della natura e cognitione di tutti gli tuoni di canto figurato (1525). A partial translation appears in Oliver Strunk, Source Readings in Music History, rev. ed. (New York: Norton, 1998). See my Chapter 9 for a more extensive discussion. verdelot’s machiavelli 41 incoherent to modern ears. But these very ambiguities became distinct advantages at Verdelot’s cultural moment: mode provides the technical basis for simulating a Self internally divided and irreparably equivocal.

I include a chapter on Froberger and his C# ricercar in Power and Desire in Seventeenth-Century Music. 36 introduction tations of Selfhood. As the book proceeds, I also hope to encourage a sense of aesthetic connection between the contemporary listener/reader and the madrigal, for the tunes I discuss in Modal Subjectivities count among the great artworks of all time. Without question, an enormous gulf lies between us and the individuals who composed, sang, and first heard this music; no one survives to testify for them as we try to interpret their cultural artifacts.

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