First published in 1999, this biography from David Tunley draws on newly researched documentary evidence to chart Campoli’s early success and his later struggle for recognition as a serious artist. Campoli’s early success and his later struggle for recognition as a serious artist. Campoli’s career emerges as one particularly shaped and directed by the great economic and social forces of the first half of the century, and the story here is as much that of his times, as of his life. Described by Szigeti as ‘one of the last great individualists among violinists’, Alfredo Campoli was a household name in the field of British light music prior to the Second World War. Having made his début at the Wigmore Hall in 1923 Campoli toured with Melba and Butt, then turned to light music during the Depression. He became one of Decca’s early recording artists and broadcast frequently for the BBC with his light music ensembles and pursued a long, successful career as a distinguished international performer.

What are the key topics that define Romantic violin playing?

Revised and expanded, A Performer's Guide to Seventeenth Century Music is a comprehensive reference guide for students and professional musicians. The book contains useful material on vocal and choral music and style; instrumentation; performance practice; ornamentation, tuning, temperament; meter and tempo; basso continuo; dance; theatrical production; and much more. The volume includes new chapters on the violin, the violoncello and violone, and the trombone—as well as updated and expanded reference materials, internet resources, and other newly available material. This highly accessible handbook will prove a welcome reference for any musician or singer interested in historically informed performance.

Available for the first time in English, this book has been considered the best single encyclopedia of the violin for 20 years. All aspects of the violin are covered: construction, history, and literature; violin playing and teaching; and violin virtuosos through the ages.

Classic, two-volume book of exercises has served generations of beginning violinists and their teachers. Studies provide practice in string crossing, bow strokes, shifting from first to third positions, and finger patterns.

Contains nearly 1000 pages of precise and accessible information on all musical subjects.

The violin was first mentioned in a book in the sixteenth century. An abundant and diverse literature on the instrument has grown since then, and a complete general guide to these materials has not been produced in the modern era. The last, Edward Heron-Allen's De Fidiculis Bibliographia , was published in1894. This book fills that void, organizing and annotating information on the violin from a variety of fields and sources. It provides a comprehensive, though selective, guide to all facets of the instrument. The book is divided into 4 main parts: Reference and General Studies; Acoustics and Construction; Violin Playing, Performance Practice, and Music; and Violinists, Composers, and Violin Teachers. It will serve as a ready reference for students and scholars, and is a welcome addition to the esteemed Routledge Music Bibliography series.

Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period. The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.