Wednesday – April 11, 2018
12:30 p.m. – UO Berwick Hall
“The Dilettante and the Professional: Differences in Composition, Style, and Performance Expectations in the 18th Century”
Michel Blavet (1700-1765)
Sonata in A, Op. 3, No. IV (1736)
Allegro ma non presto
Johann Joachim Quantz (1697-1773)
Sonata in D, Op. 1, No. IV (1734)
Grave e sostenuto
Composers in the 18th century provided music for professionals and for the highly skilled but unpaid player. In some instances the music composed for the so-called amateur player required a high degree of technical proficiency that blurs the distinction between performance expectations for both types of musicians. Michel Blavet’s Opus 3 sonatas (1736) were intended for the serious student, and Johann Joachim Quantz’s sonatas from his Opus 1 (1734) were clearly written for the musicians at the highly regarded Dresden Hofkappelle. Blavet’s Sonata IV in A requires the player to negotiate rapid passage work and issues of unequal temperament in A, f#, and C# (tonic, relative minor, dominant of the relative minor), keys that require extensive use of cross-fingerings on the traverso, while Sonata IV by Quantz includes his slowest (Grave e sostenuto) and fastest (Presto in ¾) indications of tempo discussed in his Versuch (1752).
Blavet’s sonata does not expect the performer to create real-time ornamentation in the Adagio movement; he provides written out ornamentation similar to that found in Telemann’s Methodical Sonatas (1728), and Quantz’s Versuch examples on playing the Adagio. Quantz’s Grave e sostenuto, however, requires the professional to extemporize ornamentation in real time, and in the Presto to execute demanding passage work at an incredibly fast speed. By performing and discussing the music written for both groups of musicians I will illuminate the subtle distinctions found in the compositions for the dilettante and professional, respectively.
Kim Pineda is a musicologist and scholar-performer specializing in historical performance practices of classical music from the 14th through early19th centuries. As a scholar he has presented his research at meetings of the AMS, SAM, Western Society for Eighteenth Century Studies, the Society for Eighteenth-Century Music, AMS-SW, MLA-PNW, and PNW-SEM chapter meetings, and the Patristic, Medieval, and Renaissance studies conference. As a performer Dr. Pineda has concertized throughout the U.S., Canada, and on NPR.
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