※ 引述《jeveux (violon)》之铭言： : Baroque桥一样有幅度, 一样要用Arppegio方式拉奏和弦 Sorry, can't type Chinese right now. The Baroque bridge did have a curve, albeit somewhat smaller than modern types, but the Baroque bow was also different. Bows before ca. 1800 were convex (ie. the bow was bent outward, as opposed to our modern bows), and the modern frog and screw mechanism hadn't been perfected yet, which resulted in a more laxed tension of the hairs. The Tourte bow, precursor of our modern bows, wasn't perfected until around 1820. (Contemporary art bears witness to these characteristics, as in the portraits of Mozart and his father, and the very famous portrait of cellist Luigi Boccherini.) Because of the different curvature of both the bridge and bow, and the more relaxed tension of the bow hairs, it was possible to play three or four strings simultaneously. This is what Albert Schweitzer tried to recreate on the modern violin by his "Bach- Bogen", which has an extremely exaggerated curve. However, all of this is yet further complicated by performance styles: even though the Baroque violin and bow were capable of playing mutiple notes at the same time, in many cases there was a tendency to play chords arpeggiated. This, however, is much too complicated to discuss here. I believe that we could resort to our own ears and judgement; personally, listening to the Ciaccona of the second Partita played with the Bach-Bogen reassures me of the belief that, at least this piece sounds best when every note is sustained. : 除此之外, Bach有些和弦的写法是一定不能同时按四个音的 : 如果各位想要深入了解这些问题 : 请参考Joel Lester的书 : "Bach's works for solo violin" : 去PageOne买的到 All in all, this is a very complicated problem, since even at that time there were many different styles of playing. However, I find it both interesting and illuminating, and although it might not be possible for a satisfying conclusion to be reached, this topic is definitely worthy of discussion. -- I'll translate this into Chinese later if anybody wishes so... --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 203.71.172.113