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Author: Geoffrey Burgess (Oboist)
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 216
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Book Description
"The Premier Oboist of Europe": A Portrait of Gustave Vogt describes the life and achievements of the most prolific composer of oboe music in the nineteenth century. This book attempts to stimulate appreciation of Gustave Vogt (1781-1870) as musician and historical personality. It brings together portraiture, personal correspondence, concert reviews, autographs, and countless other documents including Vogt's Conservatoire exam reports, a detailed work list of Vogt's compositions, and the first complete transcription and translation of his unpublished oboe method. Despite his exceptional career and the seminal position in the history of the oboe, Vogt's long and active career have been largely passed over. He is remembered primarily for being the teacher of oboists who took up posts in France and England. In truth, however, during his long life Vogt witnessed huge transformations, affecting not only musical fashion but the social fabric of the world about him. After being trained at the Paris Conservatoire, he earned considerable repute from his appearances in concert hall and salon. Like most artists of his day, Vogt performed his own compositions but was also praised for his skill as a chamber musician, most notably in the wind quintet that premiered the works of Anton Reicha. As well as reawakening appreciation of a musician, known in his day as Europe's greatest oboist, this book posits an alternative viewpoint by writing history from the perspective of a musician caught up in the flow of his times--an extraordinary personality who was representative of the place and time in which he lived, rather than an exception to them.
Author: Geoffrey Burgess (Oboist)
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 216
Get Book Here
Book Description
"The Premier Oboist of Europe": A Portrait of Gustave Vogt describes the life and achievements of the most prolific composer of oboe music in the nineteenth century. This book attempts to stimulate appreciation of Gustave Vogt (1781-1870) as musician and historical personality. It brings together portraiture, personal correspondence, concert reviews, autographs, and countless other documents including Vogt's Conservatoire exam reports, a detailed work list of Vogt's compositions, and the first complete transcription and translation of his unpublished oboe method. Despite his exceptional career and the seminal position in the history of the oboe, Vogt's long and active career have been largely passed over. He is remembered primarily for being the teacher of oboists who took up posts in France and England. In truth, however, during his long life Vogt witnessed huge transformations, affecting not only musical fashion but the social fabric of the world about him. After being trained at the Paris Conservatoire, he earned considerable repute from his appearances in concert hall and salon. Like most artists of his day, Vogt performed his own compositions but was also praised for his skill as a chamber musician, most notably in the wind quintet that premiered the works of Anton Reicha. As well as reawakening appreciation of a musician, known in his day as Europe's greatest oboist, this book posits an alternative viewpoint by writing history from the perspective of a musician caught up in the flow of his times--an extraordinary personality who was representative of the place and time in which he lived, rather than an exception to them.
Author: Geoffrey Vernon Burgess
Publisher: Yale University Press
ISBN: 9780300093179
Category : Music
Languages : en
Pages : 444
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Book Description
The oboe, including its earlier forms the shawm and the hautboy, is an instrument with a long and rich history. In this book two distinguished oboist-musicologists trace that history from its beginnings to the present time, discussing how and why the oboe evolved, what music was written for it, and which players were prominent. Geoffrey Burgess and Bruce Haynes begin by describing the oboe’s prehistory and subsequent development out of the shawm in the mid-seventeenth century. They then examine later stages of the instrument, from the classical hautboy to the transition to a keyed oboe and eventually the Conservatoire-system oboe. The authors consider the instrument’s place in Romantic and Modernist music and analyze traditional and avant-garde developments after World War II. Noting the oboe’s appearance in paintings and other iconography, as well as in distinctive musical contexts, they examine what this reveals about the instrument’s social function in different eras. Throughout the book they discuss the great performers, from the pioneers of the seventeenth century to the traveling virtuosi of the eighteenth, the masters of the romantic period and the legends of the twentieth century such as Gillet, Goossens, Tabuteau, and Holliger. With its extensive illustrations, useful technical appendices, and discography, this is a comprehensive and authoritative volume that will be the essential companion for every woodwind student and performer.
Author: Martin Schuring
Publisher: Oxford University Press, USA
ISBN: 0195374584
Category : Music
Languages : en
Pages : 238
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Book Description
In Oboe Art and Method, veteran oboe performer and instructor Martin Schuring describes in detail all of the basic techniques of oboe playing (including breathing, embouchure, finger technique, articulation, and phrasing) and reed making, with expert tips and step-by-step instructions for how best to perform each of these tasks with grace and technical efficiency.
Author: Bruce Haynes
Publisher: Oxford University Press
ISBN: 0199373736
Category : Music
Languages : en
Pages : 361
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Book Description
Baroque oboists Bruce Haynes and Geoffrey Burgess established reputations as authorities on the history of their instrument with their co-authored book The Oboe, voted an outstanding achievement by the American Music Instrument Society. Haynes' writings, notably The End of Early Music, are known for pioneering new approaches in historical performance practice and inspiring healthy debate among scholars and performers of early music. Burgess, an instructor at the Eastman School of Music, recently published Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World, which combines the biography of a leading manufacturer of historic instruments with a history of the emerging early music scene in America. Bruce Haynes passed away in May, 2011.
Author: Bruce Haynes
Publisher: Oxford University Press
ISBN: 0195189876
Category : Music
Languages : en
Pages : 305
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Book Description
Publisher description
Author: Bruce Haynes
Publisher:
ISBN: 9780198166467
Category : Music
Languages : en
Pages : 576
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Book Description
This is the first in-depth survey of the oboe during its Golden Age, tracing the history of the instrument from its invention through its many mutations as it adapted to the changing demands of composers. The author describes in detail the instruments, players, makers, and composers, as well as how and where it was played, and who listened to it.
Author: Michael Robertson
Publisher: Routledge
ISBN: 135154540X
Category : Music
Languages : en
Pages : 259
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Book Description
Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the franz?sischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustifi
Author:
Publisher:
ISBN:
Category : Orchestra
Languages : en
Pages : 528
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Book Description
Author: Michael Robertson
Publisher: Routledge
ISBN: 1351545418
Category : Music
Languages : en
Pages : 298
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Book Description
Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the franz‘sischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustifi
Author: James R. Briscoe
Publisher: A-R Editions, Inc.
ISBN: 0895798085
Category : Music
Languages : en
Pages : 109
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Book Description
The Paris Conservatoires rigorous curriculum for training both singers and instrumentalists led to a wealth of musical treasures in the form of pieces composed specifically for the end-of-year examinations, which culminated in a public prize competition, the Concours du Conservatoire. The solos composed for these examinations, both the sight-reading works and the longer contest pieces (morceaux de concours), constitute the first extended series of compositions for woodwinds, brass, and harp in music history, being composed nearly annually for each instrument beginning in the 1830s. The wealth of musical treasures resulting from this systematic accumulation of works represents the historical core of these instrumental repertories today. The present volume contains a selection ofmorceaux de concours and other pieces written in a similar style, representing some of the most influential flutists and composers associated with the Conservatoire.
