Clarinet Concerto in C Minor, Op. 36

Author: Philipp Jakob Riotte

Publisher: A-R Editions, Inc.


Category: Clarinetists

Page: 121

View: 550

The early years of the nineteenth century saw wide-ranging developments to the mechanics and acoustics of the Classical clarinet. The Russian virtuoso clarinetist, composer, and instrument designer Iwan Müller brought about some of the most important innovations in clarinet design. His “clarinet omnitonique,” a thirteen-keyed instrument, was radical in that it would be able to play comfortably in all tonalities, dispensing with the need for the family of clarinets pitched in different keys. For a prototype of this “nouvelle clarinet”—a collaboration between Müller and the noted Viennese maker, Johann Merklein—the German composer Philipp Jakob Riotte (1776–1856) wrote a virtuosic concerto. This premiered in Vienna in the autumn of 1809. Published in 1818, and previously thought to be lost, Riotte’s op. 36 for the prototype “clarinet omnitonique” displays a diverse palette of keys, extreme registral contrasts, and chromatic writing for clarinet, which were clearly facets of Müller’s playing enabled by his new instrument. The work enhances our understanding of the development and deployment of the “clarinet omnitonique” within the concerto genre in the early nineteenth century. It serves also to reinstate the important relationship between Müller, Riotte, and Merklein.

The Age of Beethoven, 1790-1830

Author: Gerald Abraham

Publisher: Oxford University Press on Demand


Category: Music

Page: 774

View: 376

Covers forty years which saw profound changes in music, most of them dominated by Beethoven. Provides a detailed, scholarly critical survey of the music of the period with chapters on French, Italian and German opera and on opera in other countries, on Beethoven's orchestral and chamber music and of his contemporaries on the concerto, on piano music, on solo song and on choral music, as well as an introductory chapter on general musical conditions of the time.

Networking the Russian Diaspora

Author: Hon-Lun Helan Yang

Publisher: University of Hawaii Press


Category: Music

Page: 289

View: 647

Networking the Russian Diaspora is a fascinating and timely study of interwar Shanghai. Aside from the vacated Orthodox Church in the former French Concession where most Russian émigrés resided, Shanghai today displays few signs of the bustling settlement of those years. Russian musicians established the first opera company in China, as well as choirs, bands, and ensembles, to play for their own and other communities. Russian musicians were the core of Shanghai’s lauded Municipal Orchestra and taught at China’s first conservatory. Two Russian émigré composers in particular—Alexander Tcherepnin and Aaron Avshalomov—experimented with incorporating Chinese elements into their compositions as harbingers of intercultural music that has become a well-recognized trend in composition since the late twentieth century. The Russian musical scene in Shanghai was the embodiment of musical cosmopolitanism, anticipating the hybrid nature of twenty-first-century music arising from cultural contacts through migration, globalization, and technological advancement. As a pioneering study of the Russian community, Networking the Russian Diaspora examines its musical activities and influence in Shanghai. While the focus of the book is on music, it also gives insight into the social dynamics between Russians and other Europeans on the one hand, and with the Chinese on the other. The volume, coauthored by Chinese music specialists, makes a significant contribution to studies of diaspora, cultural identity, and migration by casting light on a little-studied area of Sino-Russian cultural relations and Russian influence in modern China. The discoveries stretch the boundaries of music studies by addressing the relational aspects of Western music: how it has articulated national and cultural identities but also served to connect people of different origins and cultural backgrounds.

Conducting and Rehearsing the Instrumental Music Ensemble

Author: John F. Colson

Publisher: Scarecrow Press


Category: Music

Page: 520

View: 295

Conducting and Rehearsing the Instrumental Music Ensemble is the most comprehensive guide on the rehearsal process for conducting instrumental music ensembles. Ideal for the advanced instrumental music conductor seeking to look beyond basic conducting technique, this work breaks the multidimensional activity of working with an ensemble, orchestra, or band into its constituent components. Advanced students of conducting will find within the full range of conducting activities: • Chapters on the infrastructure of the rehearsal, the rehearsal environment, 10 rehearsal essentials, score study, music imagery, inner singing, and rehearsal procedures (with an emphasis on an integrated approach to rehearsing) • The technical priorities of intonation and tuning, rhythm patterns, ensemble sonority (tone, balance, blend, color and texture), and articulation • The musical priorities of tempo and ensemble precision, phrasing and the musical line, style and interpretation, dynamics and musical expression • Emphasizing the expectations of 21st-century conductors, the challenges of conducting and rehearsing contemporary music, preparing conductor profiles and self-evaluations, and moving from the rehearsal process to concert performance Conducting and Rehearsing the Instrumental Music Ensemble is a great resource for teachers and students of conducting, as well as current conductors wishing to further hone their skills.

Conducting Elgar

Author: Norman Del Mar

Publisher: Oxford University Press


Category: Music

Page: 284

View: 495

This is the final book in the magnificent series of advice on conducting the repertoire that Norman Del Mar had been writing until his death in February 1994. As with the previous books, each chapter is devoted to a specific work, and once again all the major orchestral works of thisimportant composer are covered. The book culminates in an important study of The Dream of Gerontius, and it was in the middle of this chapter that Norman was forced to lay down his pen. His son, Jonathan, himself a conductor, was with him in hospital helping him, and knew what line the chaptershould take. He has now completed this and seen the whole book through the press with authority and devotion.Norman Del Mar renowned in his generation as the principal interpreter of English music and in particular for his understanding of Elgar. His explanations of the subtleties of guiding an orchestra through these magnificanet scores will be a lasting memorial to his lifework and invaluable help toall those who seek to clarify this elusive music. Elgar's own recordings are frequently drawn upon, but by no means always accepted, the changing fashions of interpretation being a constantly changing subject.