The Inner Life of Sound

One essential element of musical expression is the living sound, capable of holding the constant attention of the audience. This lesson traces that ubiquitous concept from Caccini’s “swelling and abating of the voice” (1602) to the violin études of Mazas (1843). In the Baroque sound world, free from the all-pervasive vibrato of modern times, it was the responsibility of the bow to provide this ‘inner life of sound.’ Based mainly on the writings of Tartini, Geminiani, and Leopold Mozart, all of whom are quoted, this lesson contains five exercises for perfecting the expressive device that guaranteed this living sound, the “Messa di voce.” The many different aspects of its technique, gleaned from the sources, are isolated and explained in detail, from simple pressure with the forefinger to the addition of vibrato: two composers who indicated this device in their compositions, Veracini and Piani, are quoted and illustrated.

Applying the Messa di voce

This lesson explains how to integrate the Messa di voce into playing and how to temper it according to the demands of the music. We learn how to synchronize the gestures of the bow with our breathing (another step toward connecting the inner artist with the outer one). The lesson discusses how dissonances and consonances relate and, in the ‘Observations’ section, the different functions of the trill, the importance of being at ease in second position, the question of hemiolas, and what the sources say about chromatic fingering. Finaarchy among them, on breathing the Messa di voce and on replicating Corelli’s exercise for increasing the power of sound.

Sonatas for Violin Solo and Violoncello with Cembalo

Piani's twelve violin sonatas (Paris, 1712) contain some of the first known published indications of crescendo, diminuendo, and messa di voce. This delightful music—comprising Piani's only extant works—contains the composer's detailed and informative markings of dynamics, bowing, and fingering.