The Baroque Clarinet and Chalumeau
Edition number: 2
Publisher: OUP USA
Date of Publication: 24 July 2020
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Product details:
| ISBN13: | 9780190916701 |
| ISBN10: | 0190916702 |
| Binding: | Paperback |
| No. of pages: | 336 pages |
| Size: | 175x251x20 mm |
| Weight: | 1 g |
| Language: | English |
| Illustrations: | 75 illustrations |
| 271 |
Category:
Short description:
In The Baroque Clarinet and Chalumeau, the second edition of his authoritative 1992 volume, Albert R. Rice presents new and valuable research about the Baroque clarinet and the earlier, related chalumeau, including analysis of recently-discovered early instruments and historical scores.
Long description:
The first edition of Albert R. Rice's The Baroque Clarinet is widely considered the authoritative text on the European clarinet during the first half of the eighteenth century. Since its publication in 1992, its conclusions have influenced the approaches of musicologists, instrument historians, and clarinet performers. Twenty-eight years later, Rice has updated his renowned study in a second edition, with new chapters on chalumeau and clarinet music, insights on newly found instruments and additional material on the Baroque clarinet in society.
Expanding the volume to include the chalumeau, close cousin and predecessor to the clarinet, Rice draws on nearly three decades of new research on the instrument's origins and music. Discoveries include two recently found chalumeaux in a private collection, one by Johann Heinrich Eichentopf of Leipzig, and attributions based on historical evidence for three more chalumeaux. Rice furthers the discussion to recently uncovered early instruments and historical scores, which shed light on the clarinet's evolution. Most essentially, Rice highlights the chalumeau's substantial late-seventeenth and early-eighteenth century repertory, comprising over 330 works by 66 composers, and includes a more expansive list of surviving Baroque clarinet works, organized by date, composer, and tonality/range.
The Baroque Clarinet and Chalumeau provides a long-awaited follow-up to Rice's groundbreaking volume, drawing from a variety of sources-including German, Italian, Dutch, Swedish, Norwegian, Danish, Finnish, Flemish, Czech, and Catalan research-to bring this new information to an English-speaking audience. With his dedication to scholarly accuracy, Rice brings the Baroque clarinet into sharper focus than ever before.
In this 2nd edition of his The Baroque Clarinet, Albert Rice has brought up-to-date the considerable amount of research done on instruments, players, and repertory since his original 1992 edition. Filled with information of all sorts, this new edition belongs on the bookshelf of all clarinetists and others interested in this earliest stage of clarinet history.
Expanding the volume to include the chalumeau, close cousin and predecessor to the clarinet, Rice draws on nearly three decades of new research on the instrument's origins and music. Discoveries include two recently found chalumeaux in a private collection, one by Johann Heinrich Eichentopf of Leipzig, and attributions based on historical evidence for three more chalumeaux. Rice furthers the discussion to recently uncovered early instruments and historical scores, which shed light on the clarinet's evolution. Most essentially, Rice highlights the chalumeau's substantial late-seventeenth and early-eighteenth century repertory, comprising over 330 works by 66 composers, and includes a more expansive list of surviving Baroque clarinet works, organized by date, composer, and tonality/range.
The Baroque Clarinet and Chalumeau provides a long-awaited follow-up to Rice's groundbreaking volume, drawing from a variety of sources-including German, Italian, Dutch, Swedish, Norwegian, Danish, Finnish, Flemish, Czech, and Catalan research-to bring this new information to an English-speaking audience. With his dedication to scholarly accuracy, Rice brings the Baroque clarinet into sharper focus than ever before.
In this 2nd edition of his The Baroque Clarinet, Albert Rice has brought up-to-date the considerable amount of research done on instruments, players, and repertory since his original 1992 edition. Filled with information of all sorts, this new edition belongs on the bookshelf of all clarinetists and others interested in this earliest stage of clarinet history.
Table of Contents:
Dedication
Preface to the 1st edition
Preface to the 2nd edition
Acknowledgements
List of Figures
List of Music Examples
List of Tables
Abbreviations
Journals and Reference Works
General
Libraries, Museums, and Collections
1. Origins of the Chalumeau
Antiquity
Tenth through the Seventeenth Centuries
Mock Trumpet
Chalumeaux during the Seventeenth and Eighteenth Centuries
Jacob Denner's Chalumeaux and Clarinets
Chalumeaux Built as an Organ pipe
Chalumeau Players
Descriptions from the Mid-Eighteenth Century
Extant Chalumeaux
Later Documented Chalumeau Makers
Chalumeau Reproductions
Conclusion
2. Music for the Chalumeau
Introduction
Attilio Ariosti
Antonio Maria Bononcini
Agostino Steffani
Johannes Conradus Melchior Pichler
Johann Joseph Fux
Antonio Vivaldi
Antonio Caldara and Nicolas Matteis
Johann Friedrich Fasch
Jan Dismas Zelenka
Johann Adolf Hasse
Christoph Graupner
Johann Melchior Molter
Georg Philipp Telemann
Giuseppe Antonio Paganelli
Gregor Joseph Werner
Christian Cannabich
Conclusion
3. The Earliest Clarinets
Extant Baroque Clarinets
Denners' Clarinets: Documentation and Attribution
Early Clarinets Made in Nuremberg, Amsterdam, and Dresden
Design and Construction
Materials
Mouthpieces
Keys
Specific Descriptions of Baroque Clarinets
Makers' Stamps
Middle Section and the Stock-Bell
Composite Clarinets
Third Key and Additional Aspects of Design
Pitch Designations and Pitch Levels
Denner Three-Key Clarinet
Keyless Clarinets
Conclusion
4. Playing Techniques of the Baroque Clarinet
Compass, Reed Position, Embouchure, and Articulation
Hand Position and Fingerings
Tuning and Pitch Observations
Conclusion
5. Music for the Baroque Clarinet
Jacques Phillipe Dreux
Antonio Vivaldi
Antonio Caldara
Joannes Adamus Josephus Faber
Georg Philipp Telemann
George Frideric Handel
Giovanni Chinzer
Johann Valentin Rathgeber
Joseph Joachim Benedict Münster
Johann Wendelin Glaser
Ferdinand Kölbel
Johann Melchior Molter
Franz Josef Sparry
Jean-Philippe Rameau
Jan (Johann) Zach
Wenzel Stark (Starck)
Johann Stamitz
Christoph Graupner
Chevalier D'Herbain
Georg Pasterwiz
Jean-Benjamin de La Borde
Franz Joseph Ulbrecht
Thomas Augustine Arne
Conclusion
6. Baroque Clarinet in Society
Iconographical Representations
Travelling Musicians
Court and Aristocratic Music
Church and Civic Music
Military Music
Conclusion
Appendix 1 Checklist of Extant Chalumeaux
Appendix 2 Checklist of Extant Clarinets
Appendix 3 Checklist of Chalumeau Music and Sources, 1694-1780
Appendix 4 Checklist of Clarinet Music and Sources, about 1715-1760
Appendix 5 Chalumeau and Clarinet Concerts, Rehearsals, and Clarinets for Purchase in Newspaper Advertisements, 1718-1760
Bibliography
Index
Preface to the 1st edition
Preface to the 2nd edition
Acknowledgements
List of Figures
List of Music Examples
List of Tables
Abbreviations
Journals and Reference Works
General
Libraries, Museums, and Collections
1. Origins of the Chalumeau
Antiquity
Tenth through the Seventeenth Centuries
Mock Trumpet
Chalumeaux during the Seventeenth and Eighteenth Centuries
Jacob Denner's Chalumeaux and Clarinets
Chalumeaux Built as an Organ pipe
Chalumeau Players
Descriptions from the Mid-Eighteenth Century
Extant Chalumeaux
Later Documented Chalumeau Makers
Chalumeau Reproductions
Conclusion
2. Music for the Chalumeau
Introduction
Attilio Ariosti
Antonio Maria Bononcini
Agostino Steffani
Johannes Conradus Melchior Pichler
Johann Joseph Fux
Antonio Vivaldi
Antonio Caldara and Nicolas Matteis
Johann Friedrich Fasch
Jan Dismas Zelenka
Johann Adolf Hasse
Christoph Graupner
Johann Melchior Molter
Georg Philipp Telemann
Giuseppe Antonio Paganelli
Gregor Joseph Werner
Christian Cannabich
Conclusion
3. The Earliest Clarinets
Extant Baroque Clarinets
Denners' Clarinets: Documentation and Attribution
Early Clarinets Made in Nuremberg, Amsterdam, and Dresden
Design and Construction
Materials
Mouthpieces
Keys
Specific Descriptions of Baroque Clarinets
Makers' Stamps
Middle Section and the Stock-Bell
Composite Clarinets
Third Key and Additional Aspects of Design
Pitch Designations and Pitch Levels
Denner Three-Key Clarinet
Keyless Clarinets
Conclusion
4. Playing Techniques of the Baroque Clarinet
Compass, Reed Position, Embouchure, and Articulation
Hand Position and Fingerings
Tuning and Pitch Observations
Conclusion
5. Music for the Baroque Clarinet
Jacques Phillipe Dreux
Antonio Vivaldi
Antonio Caldara
Joannes Adamus Josephus Faber
Georg Philipp Telemann
George Frideric Handel
Giovanni Chinzer
Johann Valentin Rathgeber
Joseph Joachim Benedict Münster
Johann Wendelin Glaser
Ferdinand Kölbel
Johann Melchior Molter
Franz Josef Sparry
Jean-Philippe Rameau
Jan (Johann) Zach
Wenzel Stark (Starck)
Johann Stamitz
Christoph Graupner
Chevalier D'Herbain
Georg Pasterwiz
Jean-Benjamin de La Borde
Franz Joseph Ulbrecht
Thomas Augustine Arne
Conclusion
6. Baroque Clarinet in Society
Iconographical Representations
Travelling Musicians
Court and Aristocratic Music
Church and Civic Music
Military Music
Conclusion
Appendix 1 Checklist of Extant Chalumeaux
Appendix 2 Checklist of Extant Clarinets
Appendix 3 Checklist of Chalumeau Music and Sources, 1694-1780
Appendix 4 Checklist of Clarinet Music and Sources, about 1715-1760
Appendix 5 Chalumeau and Clarinet Concerts, Rehearsals, and Clarinets for Purchase in Newspaper Advertisements, 1718-1760
Bibliography
Index
