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Etwa vom zweiten Jahrzehnt des 18. bis gegen Mitte des 19. Jahrhunderts mit der zugeschriebenen Blütezeit von ca. 1770 bis um 1800 charakterisieren um das klassische Wiener Bläseroktett zwar grundsätzlich formulierte, aber wenig standardisierbare Besetzungen das facettenreiche Bild von Harmoniemusik. In ihrem Werden und Wandel aus fortgeschriebener barocker Bläsertradition bergen ihre Geburtsmomente, ihre Bedeutung im Kontext von Ensembleentwicklungen, ihr Verhältnis zu Gattungsverständnissen und Wertschätzungen noch brisante Akzente. Das europäische Spannungsfeld zwischen Funktionen der Harmoniemusik in Militär und Unterhaltung, im Alltags- und Repräsentationsgeschehen führt zu Fragen ihrer Qualitäten und Marktmechanismen. Arrangements für Harmoniemusik-Besetzungen erweisen sich als aufführungspraktische Quellen und vermögen Rezeptionen in Musikerkreisen und Hörerschaften damals und heute zu erhellen. Besondere Ausprägungen von Hautboistenkultur und Bläsermusik in Städten, Höfen oder Landschaften bereichern Fokussierungen der Regionalfor?schung und betonen gemeinsam mit Repertoireentwicklungen, mit Werken einzelner Komponisten oder Bearbeiter Originalität als Kriterium einer Gesellschaftsentwicklung, welche auch die Harmoniemusik in Modifikationen über Epochengrenzen getragen hat. In Annäherung an ein zukünftiges Gesamtbild dieser im Wesen durch Holzbläser und Hörner gekennzeichneten Instrumentalbesetzung werden im Zusammenhang mit ihrer musikalischen Faktur weiterhin auch ihre kulturhistorischen Grundlagen und Bestimmungen zu suchen sein.
A rich and fascinating account of one of music history’s most ancient, varied, and distinctive instruments From its origins in animal horn instruments in classical antiquity to the emergence of the modern horn in the seventeenth century, the horn appears wherever and whenever humans have made music. Its haunting, timeless presence endures in jazz and film music, as well as orchestral settings, to this day. In this welcome addition to the Yale Musical Instrument Series, Renato Meucci and Gabriele Rocchetti trace the origins of the modern horn in all its variety. From its emergence in Turin and its development of political and diplomatic functions across European courts, to the revolutionary invention of valves, the horn has presented in innumerable guises and forms. Aided by musical examples and newly discovered sources, Meucci and Rocchetti’s book offers a comprehensive account of an instrument whose history is as complex and fascinating as its music.
This first full-length study of Telemann's concertos, sonatas, and suites focuses on his imaginative mixing of styles and genres. Special attention is also devoted to the extra musical meanings and humor of his programmatic overture-suites, his unprecedented self-publishing enterprise, and the social resonances of his Polish-style works.
This research guide is an annotated bibliography of sources dealing with the string quartet. This second edition is organized as in the original publication (chapters for general references, histories, individual composers, aspects of performance, facsimiles and critical editions, and miscellaneous topics) and has been updated to cover research since publication of the first edition. Listings in the previous volume have been updated to reflect the burgeoning interest in this genre (social aspects, newly issued critical editions, doctoral dissertations). It also offers commentary on online links, databases, and references.
This welcome volume encompasses the entire history of the bassoon, from its origins five centuries ago to its place in twenty-first-century music. James Kopp draws on new archival research and many years' experience playing the instrument to provide an up-to-date and lively portrait of today's bassoon and its intriguing predecessors. He discusses the bassoon's makers, its players, its repertory, its myths, and its audiences, all in unprecedented detail. The bassoon was invented in Italy in response to the need for a bass-register double-reed woodwind suitable for processionals and marching. Composers were quick to exploit its agility and unique timbre. Later, during the reign of Louis XIV, the instrument underwent a major redesign, giving voice to its tenor register. In the early 1800s new scientific precepts propelled a wave of invention and design modifications. In the twentieth century, the multiplicity of competing bassoon designs narrowed to a German (or Heckel) type and a French type, the latter now nearly extinct. The author examines the acoustical consequences of these various redesigns. He also offers new coverage of the bassoon's social history, including its roles in the military and church and its global use during the European Colonial period. Separate historical chapters devoted to contrabassoons and smaller bassoons complete the volume [Publisher description].
Following his much-acclaimed The Baroque Clarinet and The Clarinet in the Classical Period, Albert R. Rice now turns his signature detailed attention to large clarinets - the clarinet d'amour, the basset horn, the alto clarinet, bass and contra bass clarinets. Each chapter is devoted to a specific instrument, and offers a fascinating insider's look at its defining characteristics, a comprehensive history of its evolution, meticulously-researched information on its makers and aspects of construction, and a thorough discussion of its music. Rice illustrates how the introduction of large clarinets into chamber ensembles, wind bands, and opera orchestras was the result of experiments meant to address specific musical needs. Along the way, he brings to life the musicians, virtuosi, soloists, and orchestral and band musicians, as well as the instruments' makers and the composers from J. C. Bach to Smetana who wrote for them. Based on careful study of primary sources - musical compositions, patents, memoirs and diaries, and unfettered access to historical instruments themselves--Rice's expert presentation is nothing short of exhaustive. From the Clarinet d'Amour to the Contrabass will engage all who love the clarinet and its music.
The Keyboard Music of J.S. Bach provides an introduction to and comprehensive discussion of all the music for harpsichord and other stringed keyboard instruments by Johann Sebastian Bach (1685-1750). Often played today on the modern piano, these works are central not only to the Western concert repertory but to musical pedagogy and study throughout the world. Intended as both a practical guide and an interpretive study, the book consists of three introductory chapters on general matters of historical context, style, and performance practice, followed by fifteen chapters on the individual works, treated in roughly chronological order. The works discussed include all of Bach's individual keyboard compositions as well as those comprising his famous collections, such as the Well-Tempered Clavier, the English and French Suites, and the Art of Fugue.