Improvisation on Chordal Instruments in 17th-Century Italy

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Since the 1920s there has been a fascination with pre-classical music; in recent decades 'early music' has become incredibly popular, with historically-informed performances on reconstructed instruments from earlier times. Much pre-classical music left to us is more a sketch than a literal text, not unlike the simple way a jazz tune is written down today; like jazz performers, musicians of old would have been well-versed in improvisational techniques, enabling them to take the sketch and turn it into a personal and inventive performance. While there are 16th- and 17th-century theoretical treatises left to us, there is still much to be understood about extemporization at that time; in comparison with the sophisticated extemporization of musicians in the past, present-day early musicians only scratch the surface.My research project aims to revive the neglected art of improvising in 17th-century styles and re-establish it as an integral part of performing this music, creating musical experiences which involve the public in the breathtaking excitement generated by the creation of music on the spot. This would add a unique and more informal dimension to classical music concerts, and present new, exhilarating challenges to early musicians. Various types of early extemporisation, particularly on chordal instruments, will be investigated: basso continuo (a system of accompaniment written in sketch form), ensemble improvisation, and techniques for improvising toccatas and preludes (genres which involved improvisation). Historical treatises, didactic material and documentary evidence will be reviewed, but I will also examine many of the practical clues in the music itself such as accompanimental fragments, parts used by players in performance, and pieces that imitate improvising techniques. These practical sources, when viewed by an experienced performer like myself, can provide insight into the music not always gleaned through more traditional research. I shall undertake this fellowship at the University of Birmingham, where I am a part-time Visiting Lute Tutor for its Centre for Early Music Performance and Research. The unique Gloria Rose Collection of important research materials on 17th-century improvising ensembles and basso continuo was bequeathed to the University; my aim is to carry on Rose's unfinished research.The outcomes of my research will be both practical and scholarly. I will create an innovative ensemble, essentially an 'early music big band' dedicated to experimentation, performance and promotion of the art of historically-informed extemporization. The ensemble will hone its skills through regular rehearsals; performances will be linked to workshops where students will benefit from learning with seasoned professionals. I shall launch a concert series (linked with workshops) including both instrumental and vocal music, with chordal improvisation in 17th-century Italy as its theme. London's South Bank Centre, amongst others, has already expressed an interest in presenting my improvising ensemble in a space being established there to showcase less formal performance styles of pre-classical music. I aim to write and publish a much-needed manual for both early music students and professionals; presented in workbook form, it will take a player systematically through 16th- and 17th-century improvisation styles, practical Renaissance theory and group extemporization using graded musical examples from the time. I will use and test the practical educational techniques, exercises and examples I find in my research to provide my students with a broader foundation of knowledge and produce more confident and independent performers and researchers who will see improvisation as an exciting and important part of their music making. My research findings will be disseminated through the manual, the publication of articles, CDs' and lecture-demonstrations.