Accounts written of the late Johann George Tromlitz paint him as a bitter man; he was easily upset when writers neglected to mention his influential work on the flute. He reacts to these sentiments in the forward of one of his treatises, The Virtuoso Flute-Player (1791). Tromlitz wanted to be known as a master of the flute; he believed that his ideals were vital to the flute’s development and performance. He wrote several treatises where he speaks of the correct construction and performance of the flute, the core of his ideal. Although disputed, Tromlitz’s long-lasting impact on the flute community is absolutely indispensable: his treatises guide performers to a great extent, his compositions provide standard and well-written repertoire for the flute, and his flutes themselves mark the improvements that have been essential to the development of the modern flute.
Tromlitz was born in 1725 in the small district of Reinsdorf in northern Germany. He completed his studies at the University at Leipzig in 1750, and soon after he received his degree in law, he started to build his own new set of flutes that were intended to dramatically change the construction process of flutes. He assumed the principal chair of the Große Concerte (now the Gewandhaus Orchestra) in 1754 until 1776. The Gewandhaus Orchestra was named after the concert hall in Leipzig where its main performances were and still are held. Tromlitz left the orchestra to dedicate his time to the creation of his new instruments, the teaching of new students, and the compositions he was writing for the flute repertoire. By leaving the orchestra, Tromlitz began to discover the true worth of improving the flute. The flute was being used in the orchestra on a more freque...
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86), depth or space is illustrated or implied by the size and position of the flute and guitar player being the larger of all the musicians in the foreground and the smaller musicians behind them. Depth is further depicted by the guitar player's right leg in between the flute player's left leg. The line in the neck of the smaller guitar and the implied receding lines of the guitar's body depict linear perspective and add depth. Paolini creates value by using the artistic technique chiaroscuro or Italian for ‘light-dark’ on the flute player per DeWitte (2015, p. 84). The flutist back is highlighted in bright light coming from over his right shoulder. His front side or chest is bathed in shadow.
Jorge Montilla (b. 1970) stands as a major Venezuelan clarinet performer, arranger and composer of the twenty-first century. His arrangements and compositions for the solo Eb clarinet, solo bass clarinet, Eb with piano, and clarinet duets, trios and quartets are been played all over the globe. These compositions and arrangements are extraordinary well written for the clarinet. Montilla knows the strengths of each different clarinet, bass, Eb and soprano. Most of his pieces show his roots in Venezuelan folk music, giving him an enormous advantage to write for the clarinet family. His repertoire for these instruments consists of solo work for Eb and bass clarinet, duets for two Bbs, trio for bass clarinet and two soprano clarinets, trio for Eb, Bb Soprano and Bass clarinet, clarinet quartet “Four for Four,” and arrangements of Latin American composers such as Beatriz Lockarht and Astor Piazzolla.
Giuseppe Torelli, was an Italian violinist, teacher and composer, is considered one of the early developers of the Baroque concerto and concerto grosso. Torelli also composed a significant number of works for the trumpet during the Baroque period (1600-1750). Around 1690, one can begin to see the first works for the trumpet. He was familiar with the virtuoso trumpeter, Giovanni Pellegrino Brandi. Brandi would sometimes play with the San Petronio orchestra, of which Torelli was violin player. This acquaintance could explain Torelli’s awareness of the trumpet’s timbre, dynamic range, and expressive capabilities.
The clarinet is a woodwind instrament consisting of a cylindrical wood, metal, or ebonite pipe with a bell-shaped opening at one end and a mouthpiece at the other end, to which a thin reed is attached. The clarinet has five different sections, the mouthpiece, the barrel, the upper section, the lower section, and the bell. The length of the entire instrument is 60 cm long. The mouthpiece section consists of a slotted cylinder, to which a reed is attached by a metal clamp called a ligature. The mouthpiece plugs into the next section which is a barrel. The barrel is simply a connecting cylinder to which the mouthpiece and the upper section plugs into. The upper section is a cylindrical pipe consisting of 4 holes and 9 keys placed in different locations along the pipe. On the back of the pipe there is a hole and a key that is used by the thumb. The lower section plugs into the upper section and is also connected via a special bridge key. This piece consists of 3 holes and 8 keys. On the inward facing side of the pipe, there is a protruding piece of metal called a thumb rest, which supports the entire clarinet. The bell plugs into the lower section. It consists of a cylinder that flares out into a bell shape and ends the clarinet.
When Johannes was in his tenth year he had made such remarkable progress that Cossel thought it best to secure a more advanced instructor. He was thus put under the care of Eduard Marxsen (Cossel?s own teacher), the royal music director at Altona, who took him unwillingly ...
Mozart’s Symphony No. 41 was his last and longest symphony he composed. While listening to this breathtaking piece of music, one specific aspect of this piece stood out to me; this being the instrumentation. In this symphony, many different instruments were used. While listening, I recognized many of them. A flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings make up this famous piece that is known world-wide by millions of people.
Next we come to a point in time where a great leap had to be made. Musicians had made positive steps forward in the way of pitch and time but of only one or two notes at a time. What was needed was an in instrument that gave players control of many pitches simultaneously. The mechanism ...
Gabrieli, Giovanni. Sacrae Symphoniae: Sonata Pian e Forte. London: Brass Wind Publications, 1996. M886.G119 S13
Wolfe, Joe. "How Do Woodwind Instruments Work?." Music Acoustics. 1994. 2014. Web. April 13, 2014. .
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
Music has shaped the lives of people throughout history. Even in its earliest forms, music has included use of instruments. One of the oldest musical instruments known is a variation of the flute; the original flute is thought to date back nearly 67,000 years ago. Tonight we are going to move throughout the eras with a history of instrumental music. This concert will begin with the Renaissance Era and continue through time until we have reached modern instrumental music.
Mozart wrote The Magic Flute in 1791, just after the French Revolution and just before he died. Haydn had introduced Mozart to Freemasonry, and the opera is full of the ideas (the autonomy of the individual, self-determination, appalling sexism), the ideals (power, wisdom, beauty), and the symbols (aprons, hammers, compasses, a pyramid with an ...
Nepomuk Hummel’s Trumpet Concerto in E is one of the most famous pieces in the trumpet repertoire and one of Hummel’s most recognizable works. Hummel had a very close connection to Mozart and his works, which helped establish a foundation for Hummel’s compositional style. His studies and friendship were no doubt an influence in creating this masterpiece for the trumpet. When listening to Hummel’s concerto for trumpet, one can find direct references Mozart’s Don Giovanni and other works by Mozart. Although Mozart was only apart of Hummel’s life for a brief period of time, he left the largest impression on Hummel’s compositions and it is very apparent in the Trumpet Concerto in E.
Mozart was a successful composer and violinist. He used the form of concerto (like the
Garner, Bradley. “The Flute Embouchure.” Texas Bandmasters Association. Texas Bandmasters Association, 2007. Web. 8 Sep. 2011.