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In the spring of 1876, the U.S. Army was ordered to round up Sioux Indians who had left their reservation in Dakota Territory to join other Northern Plains Indians in southern Montana. By mid-June, General George A. Custer and his 7th Cavalry Regiment had located a fresh Indian trail, and the Seventh went into fast pursuit. Late on a hot, Sunday afternoon, Custer led five companies of the Regiment to their doom at the hands of the Indians he had so aggressively chased down. They died on high ground overlooking the Little Big Horn River and a large Indian encampment on its far floodplain. Custer supporters, in shock and disbelief, stung by the unacceptable possibility that Custer may have blundered, were convinced that the Civil War boy general was abandoned to his fate by his subordinate commanders who despised him. Allegations soon flew that Captain Frederick W. Benteen tarried on the trail behind, disobeying a written order to come to Custer quickly. The question has remained: did Benteen tarry on the trail? In this book, the author takes an analytical look at the existing evidence and comes to a remarkable conclusion.
The Baroque Clarinet is a sourcebook for the historical study of the European clarinet during the first half of the eighteenth century. The book is based on a comprehensive study of the theoretical, musical, and iconographical evidence, and many conclusions are presented here for the first time. The opening chapter provides a general view of the precursors of the clarinet. The remainder of the book looks in detail at the baroque clarinet: its design and construction, its playing techniques, the music written for it, and its use by both amateur and professional players. Of particular interest is the author's investigation into aspects of performance practice at various points in the instrument's development. The book is generously illustrated with pictures and music examples, and the appendix provides an inventory and short description of extant baroque clarinets. - ;List of illustrations; List of music examples; Abbreviations; Origins; The earliest instruments; Playing techniques of the baroque clarinet; Music for the baroque clarinet; The use of the baroque clarinet by amateurs and professionals; Appendix: A checklist of extant baroque clarinets; Bibliography; Index -
The clarinet has a long and rich history as a solo, orchestral, and chamber musical instrument. In this broad-ranging account Eric Hoeprich, a performer, teacher, and expert on historical clarinets, explores its development, repertoire, and performance history. Looking at the antecedents of the clarinet, as well as such related instruments as the chalumeau, basset horn, alto clarinet, and bass clarinet, Hoeprich explains the use and development of the instrument in the Baroque age. The period from the late 1700s to Beethoven's early years is shown to have fostered ever wider distribution and use of the instrument, and a repertoire of increasing richness. The first half of the nineteenth century, a golden age for the clarinet, brought innovation in construction and great virtuosity in performance, while the following century and a half produced a surge in new works from many composers. The author also devotes a chapter to the role of the clarinet in bands, folk music, and jazz.