Playing Recorder Sonatas: Interpretation and Technique
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This new book is for recorder players, including students and teachers, seeking to enjoy more fully their instrument's varied repertoire of solo sonatas. Rowland-Jones has selected only a small number of sonatas—both well-known and less familiar—and integrates the theoretical and practical aspects of playing. Technical problems are discussed with relation to the interpretative demands, taking into full account the performance practices of each period.
List of IllustrationsNotes on Editions UsedAbbreviations and SymbolsIntroduction11The Approach to Playing Baroque Sonatas: Some General Points32Sound and Expression: Handel's Sonata in G Minor163Dynamics, and Italian Style: Telemann's Sonata in D Minor414French Style, and Inequality: Lavigne's Sonatas605Articulation and Slurs: Herbert Murrill's Sonata and Handel's 'Furioso' (D Minor Sonata)746Ornamentation and Improvisation: Fontana's Sonata Terza947Further Aspects of Performance113Speed113Repeats117Fingering and Interpretation118Presentation124Working in Ensemble125Authenticity1278Other Sonatas130Riccio, Canzona (1620/1: Venice)130Corelli, Sonata, Op. 5 No. 12, 'Follia' (1700: Rome)132Paisible, Sonata in F (c.1700: London)134Schickhardt, Sonata in E major from Op. 30 (c.1735: London)139Anne Danican-Philidor, Sonata in D minor (1712: Paris)142J.-B. Loeillet, Sonata in D minor, Op. 1 No. 2 (c.1710: Amsterdam)144Pugnani, Sonata No. 3 in F (c.1767: London)146Leigh and Berkeley, Sonatinas (1939: London)150Schollum, Sonatine (1966: Vienna)155Some Concluding Considerations160App. I. 'Three Blind Mice' and Baroque Trills163App. II. Suggestions for Starting to Explore the Recorder-Sonata Repertoire170Notes173Bibliography203Index209
