Umfang:
1 online resource (342 pages)
Ausgabe:
1st ed.
ISBN:
9781351566261
Inhalt:
Historians of instruments and instrumental music have long recognised that there was a period of profound change in the seventeenth century, when the consorts or families of instruments developed during the Renaissance were replaced by the new models of the Baroque period. Yet the process is still poorly understood, in part because each instrument has traditionally been considered in isolation, and changes in design have rarely been related to changes in the way instruments were used, or what they played. The essays in this book are by distinguished international authors that include specialists in particular instruments together with those interested in such topics as the early history of the orchestra, iconography, pitch and continuo practice. The book will appeal to instrument makers and academics who have an interest in achieving a better understanding of the process of change in the seventeenth century, but the book also raises questions that any historically aware performer ought to be asking about the performance of Baroque music. What sorts of instruments should be used? At what pitch? In which temperament? In what numbers and/or combinations? For this reason, the book will be invaluable to performers, academics, instrument makers and anyone interested in the fascinating period of change from the 'Renaissance' to the 'Baroque'
Anmerkung:
Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- Preface -- Acknowledgements -- List of Illustrations -- List of Tables and Figure -- List of Musical Examples -- Notes on the Contributors -- Introduction: From 'Renaissance' to 'Baroque'? -- 1 Baptiste's Hautbois: The Metamorphosis from Shawm to Hautboy in France, 1620-1670 -- Introduction -- Experiments with the Pirouette and Reed -- The Protomorphic Hautboy -- Reasons for 'Improving' the Shawm -- How the Hautboy Differed from the Shawm -- The Years 1664 to 1670 -- Conclusions -- 2 A Commentary on the Letter by Michel de La Barre Concerning the History of Musettes and Hautboys -- Mémoire de M. de La Barre sur les musettes et haubois -- A New Social Function for the Instruments -- The Historical Background: Italian Influence -- The Instruments -- 3 The Woodwind Instruments of Richard Haka (1645/6-1705) -- Introduction -- The Origins of Baroque Woodwind Instruments -- Haka's Early Recorders -- Haka's Oboes -- Conclusion -- 4 Basstals or Curtoons: The Search for a Transitional Fagott -- 5 The Iconographic Background to the Seventeenth-Century Recorder -- 6 The Renaissance Flute in the Seventeenth Century -- Introduction -- The Instrument-Then and Now -- Original Instruments -- Why Has There Not Been a Revival of the Renaissance Flute? -- Further Observations on Playing Characteristics and Techniques -- The Music -- Where Was the Flute Played? -- Italy -- Claudio Monteverdi (1567-1643) -- Aurelio Virgiliano, 'Il Dolcimelo' (c.1600) -- Germany -- Michael Praetorius (1571-1621) -- Heinrich Schütz (1585-1672) -- Johann Hermann Schein (1586-1630) -- Tobias Michael (1592-1657) -- France -- Theoretical Writings and Instruments -- The Music -- 7 The Flute at Dresden: Ramifications for Eighteenth-Century Woodwind Performance in Germany
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8 How did Seventeenth-Century English Violins Really Sound? -- Introduction -- William Baker of Oxford (c.1645-1685) -- The Baker Instruments -- The Viola and the Violins -- The Bass Violins -- The Strings -- The Bows -- Performance Practice -- Conclusion -- 9 The Development of French Lute Style 1600-1650 -- 10 The Early Air de Cour, the Theorbo, and the Continuo Principle in France -- A Note on Instrumentation: Performance Implications and Further Evidence for Continuo -- 11 From Stops Organical to Stops of Variety: The English Organ from 1630 to 1730 -- Introduction -- Sounds and Stops -- Stops Organical -- Imitation -- Variety -- Sounds -- Key Action -- Manufacture -- Conclusion -- 12 Upgrading from Consorts to Orchestra at the Württemberg Court -- 13 From Violin Band to Orchestra -- 14 Organological Gruyère -- Workshop Reports -- 1 J.S. Bach's Actus tragicus: 'Gottes Zeit ist die allerbeste Zeit' (BWV 106) -- 2 The French Baroque Orchestra: Lully, Charpentier, Couperin -- Bibliography -- Books and Articles -- Music -- Index
Weitere Ausg.:
Print version Wainwright, Jonathan From Renaissance to Baroque Oxford : Taylor & Francis Group,c2005 ISBN 9780754604037
Sprache:
Englisch
Schlagwort(e):
Electronic books
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Electronic books
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