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Carlo Farina’s 1627 Capriccio Stravagante uses four violin-family instruments (violin, two violas, and a violoncello-range instrument) to mimic other instruments such as trumpets, shawms, organs, and guitars. This investigation seeks to equip the modern performer by framing the piece in the context of contemporary understandings and techniques. Car...
Contexts in source publication
Context 1
... 170 The violin (or simply the "Discant" member of the "Geige" family, as Praetorius refers to it) 171 is more straightforward, and would be roughly the same length as a modern instrument, 172 though some proportions and aesthetic details were less standardized (take, for instance, the extremely long tailpiece and lower bouts of the example in fig. 3, painted in the early 1630s.) 169 One further, if weaker, argument remains: we do not know for sure whether the wording of the title page was dictated by Farina or supplied by his printer, especially such a promotional phrase as "all charmingly suited to viols." On the other hand, the avertimenti are surely Farina's own words. 170 173 ...
Context 2
... and Antoine Furetiere, in 1590, give similarly direct statements. 254 Rabelais mentions blind hurdy-gurdy players several times in his earthy satire. 255 The sixteenth century also contains some of the first representations of the blind hurdy-gurdy player in visual art, starting at the very beginning of the century with Bosch's Temptation of St. Anthony (fig. 13). As with most Bosch paintings, the potential symbolism of individual figures in his cryptic works is subject to disagreement, but the figures blindness and supplicant posture are incontrovertible, and his hurdy-gurdy is rendered in such detail as to be a valuable organological source. By Hellerstedt's count, there are at least three ...
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