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Classical and Romantic Performing Practice 1750-1900$
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Clive Brown

Print publication date: 1999

Print ISBN-13: 9780198161653

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780198161653.001.0001

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String Bowing

String Bowing

(p.259) 7 String Bowing
Classical and Romantic Performing Practice 1750-1900

Clive Brown

Oxford University Press

Knowledge of bowing techniques and the ways in which they were used casts valuable light on attitudes towards articulation in general. This chapter discusses changing designs of bow and the repertoire of bow strokes typical of particular times, places, and players. The predominant use of the upper half of the bow for short notes is considered in relation to Wilhelm Cramer's popularization of a very short springing stroke in the middle of the bow, which was fashionable for a while before being eclipsed by the ascendancy of the Viotti School in the early 19th century. The implications of terms such as a punta d'arco, détaché, and the techniques associated with slurred staccato, sautillé, and spiccato are investigated. The German approach and that of the emerging ‘Franco-Belgian’ school diverged significantly during the course of the 19th century.

Keywords:   punta d'arco, détaché, slurred staccato, sautillé, spiccato, bow, German School, Franco-Belgian School

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