Players List for Website.Xlsx

Total Page:16

File Type:pdf, Size:1020Kb

Players List for Website.Xlsx Former Members of the London Symphony Orchestra Last Name First Name Title Instrument Start Year End Year Highest Rank attained (if known) Aarons Ivan Mr Violin 1960 1962 Abbuhl Emanuel Mr Oboe 2007 2011 Principal Abercombe John Mr Not known 1930s Not known Ackroyd George Mr Flute 1912 1912 Guest Principal on US Tour 1912 Adams G. Mr Violin 1949 1949 Adams Glynne Mr Viola 1967 1968 Principal Adams Raymond Mr Cello 1969 2006 Sub-Principal Addison V. Mr Viola 1904 1914 Adlam Adrian Mr Violin 1991 2002 Alexander Frederick G. Mr Cello 1933 1939 Alexandra A. Mr Bassoon/Contra Bassoon 1904 1931 Alexandra John (Jack) Mr Bassoon 1920 1932 Allchurch Victor Frederick Mr Violin 1925 1939 Alley John Mr Keyboard 1994 2015 Principal Almgill Francis (Frank) Mr Flute/Piccolo 1912 1928 Alwyn CBE William Mr Flute/composer 1927 1927 Guest player at Three Choirs Festival Anderson George W. Mr Clarinet 1904 1939 Principal 1919 Ansell John Mr Viola 1904 1911 Appleton William Aubrey Mr Viola 1939 1940 Arbuckle AM Ashley Mr Violin 1981 1990 Co-Leader Archibald Norman Mr Trumpet 1965 1980 Arditti Irvine Mr Violin 1976 1980 Co-Leader Armon William Mr Violin 1949 1954 Real name: William Henry Armon Tilley Armstrong E. Mr Violin 1924 1935 Armstrong Thomas H Mr Violin 1929 1935 Aronowitz Cecil Mr Viola 1948 1949 Artis Samuel Mr Violin 1956 1992 Ash Francis Lancelot Mr Tuba 1915 1939 Ashby Henry Benjamin Mr Trombone 1932 1939 Principal Ashby John (Jock) Henry Mr Trombone 1936 ?1956 Principal 1948 Atherley Ernest Mr Trombone 1904 1911 Atkinson Clarence Mr Viola 1966 1984 Attwood Marian Miss Cor Anglais 1951 1954 Principal Augarde Augustus Wells Mr Clarinet/Bass Clarinet 1904 1916 Augarde Edward J. Mr Clarinet 1913 1931 Ayckbourn Horace Mr Violin 1929 1939 List compiled March 2021 Former Members of the London Symphony Orchestra Last Name First Name Title Instrument Start Year End Year Highest Rank attained (if known) Bailey Frank W G Mr Double Bass 1938 1964 Ballin A. Mr Viola 1904 1936 Bantoux Louis Mr Not known 1945 1952 Barantschik Alexander Mr Violin 1989 2001 Leader Barbirolli P. Mr Viola 1937 1938 Barker Reginald Walter Mr Not known 1947 Not known Barley Matthew Mr Cello 1999 1999 Co-Principal Barlow Harry Mr Tuba 1905 1914 Principal Barr H. Mr Trumpet 1927 1928 Joint Principal Barr Nicholas Mr Viola 1991 1994 Bartlett Alan Mr Violin 1933 1939 Bartlett F. Mr Violin 1904 1916 Barton Gilbert S. Mr Flute 1928 1939 Bean Hugh Mr Violin 1973? 1975? Joint Leader Beck Harold Mr Cello 1955 1957 Principal Beckett Edward Mr Flute 1980 ?1980 Guest Principal Bedewi Antoine Mr Timpani 2012 2017 Belinfante Paul Mr Violin 1948 1953 Bell William Henry Mr Tuba 1939 1949 Principal Benham William Mr Violin 1968 1973 Bennett George Arthur Mr Horn 1912 Not known Bennett William Mr Flute 1967 1972 Principal Benson Peter Mr Violin 1966 1966 Bentley Lionel Mr Violin 1930 1951 Benton Ernest Charles Mr Not known 1947 1949 Bergin Mary Ms Cello 1992 2014 Best W T Mr Piano Not known Not known Besznak L. Mr Violin 1930 1934 Beukes Regina Ms Viola 2003 2017 Bimson John Mr Horn 1972 1976 Assistant Principal Birnbaum Leo Mr Viola 1939 1940 Birnstingl Roger Mr Bassoon 1964 1976 Principal Bissill Richard Mr Horn 1982 1984 Black A Mr Not known Not known Not known Black John Mr Oboe 1929 1931 Blackford Charles Gordon Mr Cello 1911 1920 List compiled March 2021 Former Members of the London Symphony Orchestra Last Name First Name Title Instrument Start Year End Year Highest Rank attained (if known) Blades James Mr Percussion 1939 Not known Blayden Richard Mr Violin 1999 2017 Blech Harry Mr Violin 1935 1937 Blyth Denis Mr Timpani 1955 1962 Bonarius (Grimson) Harold Mr Violin 1912 Not known Borland J.W. Mr Organ 1905 1909 Borsdorf Adolf Mr Horn 1904 1914 Principal Borsdorf Emil Mr Horn 1950 1950 Bosworth Norris Mr Viola Not known Not known Bouchaux Axel Mr Double Bass 1993 2009 Bourton Robert Mr Bassoon 1970 2007 Principal Bousfield Ian Mr Trombone 1988 2001 Principal Bowie Eric Mr Violin 1963 1965 Bowie Michael Mr Viola 1956 1960 Boxall W.A. Mr Violin 1913 1931 Bradbury John Mr Clarinet 1995 1997 Bradley Francis Mr Horn 1924 1931 Bradley Karen Mrs Viola 1989 1997 Bradshaw William Mr Timpani 1951 1954 Brain Alfred Edwin Jr Mr Horn 1921 1924 Principal Brain Alfred Edwin Sr Mr Horn 1904 1928 Brain Aubrey Harold Mr Horn 1912 1929 Principal Breeden J.W. Mr Violin 1904 1914 Brennan William Alexander Mr Violin 1904 1913 Bridger Donald Mr Oboe 1950 1951 Principal Bright Dudley Mr Trombone 2001 2018 Principal Brightman Robin Mr Violin 1977 2009 Broadbent Nigel Mr Violin 1979 2017 Sub-Principal Brooke Sarah Ms Flute 1988 1989 Co-Principal Brough Leonard Mr Clarinet 1921 1928 Brown Andrew Mr Violin 1929 1940 Brown Bernard Mr Trumpet 1949 1956 Brown John Mr Violin 1968 1976 Co-Leader/Leader Brown Stanley Kitchener Mr Not known 1946 1950 Brown William Paton Mr Violin 1970 1997 Brown OBE James Mr Horn 1977 1992 Assistant Principal List compiled March 2021 Former Members of the London Symphony Orchestra Last Name First Name Title Instrument Start Year End Year Highest Rank attained (if known) Bryant Jeffrey Mr Horn 1972 1973 Principal Bryant Raymond Ellis Beadon Mr Not known 1946 1953 Brymer OBE Jack Mr Clarinet 1972 1988 Principal Buck James Mr Horn 1948 1949 Burden John Mr Horn 1948 1954 Principal Burditt William David Mr Horn 1935 1939 Burns Duff Mr Viola 1981 2005 Burrows Vincent Mr Horn 1953 1957 Burwood Max Mr Viola 1948 1975 Busby Thomas Richard Mr Horn 1904 1923 Principal Bye Charles Mr Violin 1929 1939 Caevreau (also Chevreau) J. Miss Harp 1910 Not known Caldwell David Mr Trumpet 1905 1906 Callcott John Henry Mr Cello 1904 1928 Cambridge F.R. Mr Violin 1915 1931 Camden Anthony Mr Oboe 1968 1988 Principal Cantrell W Mr Not known Not known 1939 Carrington Simon Mr Timpani & Percussion 1991 2002 Carrodus Ernest Mr Double Bass 1904 1928 Carrodus J. Mr Cello 1904 1914 Carrodus Robert George Thomas Mr Violin 1909 1924 Carter Roy Mr Oboe 1986 2005 Principal Carwardine Edward Mr Violin 1904 1928 Cassiliss G. Mr Not known 1930s Not known Castle Stanley Mr Violin 1956 1991 Catelinet Philip Mr Tuba 1954 Not known Cathie G.E. Mr Violin 1904 1904 Catlow John Mr Cello 1965 1967 Cave Alan Mr Double Bassoon 1955 1962 Cave John Mr Percussion 1965 1966 Chambers John Mr Viola 1961 1962 Chapman Edward .A. Mr Horn 1926 1934 2nd Principal (Sub Principal) Chappell David Mr Viola 1968 1972 Chapple Norman Mr Violin 1929 1935 Chevreau J. Miss Harp 1921 1923 Chidell Anthony Mr Horn 1971 1986 List compiled March 2021 Former Members of the London Symphony Orchestra Last Name First Name Title Instrument Start Year End Year Highest Rank attained (if known) Chipchase E. Mr Horn 1933 1934 Chivers Martin Mr Viola 1976 1982 Chorley R. Mr Violin 1921 1922 Christie James Mr Cello 1954 1957 Clark H. Frank Mr Viola 1913 1928 Clark Robert Mr Violin 1973 1998 Clarke A.E. Mr Viola 1924 1926 Clarke Brian Mr Viola 1970 1999 Co-Principal Clarke Norman Mr Violin 1978 2008 Clement Frederic Eugene Mr Double Bass 1904 1914 Clews Richard Mr Horn 1990 2000 Clift Dennis Mr Trumpet 1956 1959 Principal Cload John Mr Viola 1929 1931 Clubb James Mr Percussion 1948 1951 Cobb Philip Mr Trumpet 2009 2020 Principal Cobbett Alfred St G Mr Not known 1939 1950 Cockerill John Mr Harp (Principal) 1921 1939 Principal Cole Arnold Mr Violin 1965 1969 Coles C. Mr Violin 1936 1938 Collier Henry Mr Double Bass 1950 1958 Collins Anthony Mr Viola/Conductor 1926 1936 Principal Colter Sydney Mr Violin 1953 1989 Cook Thomas Mr Violin 1939 1981 Cooke AM Nelson Mr Cello 1961 1968 Principal Coomber G.A. Mr Violin 1914 1931 Cooper John Mr Double Bass 1965 1988 Cooper Melville Mr Violin 1948 1954 Cooper Nicholas Mr Cello 1986 1993 Corbett G. Mr Percussion 1934 1939 Core Henry Isidore Mr Violin 1919 1924 Cornish Albert Mr Percussion Not known Not known Corri Vernon Mr Violin 1921 1924 or 33 Cottrell Josephine Miss Viola 1948 1948 Cownley George Mr Not known 1930s Not known Cox Michael Mr Flute 1993 1998 Joint Principal Cozens J. Mr Trumpet 1929 1931 Principal List compiled March 2021 Former Members of the London Symphony Orchestra Last Name First Name Title Instrument Start Year End Year Highest Rank attained (if known) Crabb(e) Charles Alfred Mr Cello 1904 1933 Craen John Mr Oboe 1953 1954 Craske Alfred Mr Double Bass 1953 1957 Crayford Marcia Ms Violin 1996 1996 Assistant Leader Crees Eric Mr Trombone 1973 2000 Co-Principal Creese Geoffrey Mr Violin 1965 1996 Cripps David Mr Horn 1970 1983 Principal Cruft Benedict Mr Violin 1973 1975 Cruft John Mr Viola 1904 1923 Cruft John Herbert Mr Oboe 1946 1959 Principal Cor Anglais Cruft MVO OBE Eugene John Mr Double Bass 1909 1912 Cullingford K. Mr Violin 1938 1938 Cummings Douglas Mr Cello 1969 1993 Principal Cummings Julian Mr Violin 1969 1972 Cummings Keith Edward Mr Viola 1937 1939 Curby Harold Mr Violin 1961 1962 Cuthbertson Eric Mr Viola 1949 1980 Dalziel Alan Mr Cello 1955 1957 Davies Edward William Mr Oboe 1904 1914 Davies John Mr Violin 1957 1963 Davies Roy Mr Violin 1948 1956 Davies W. Hubert Mr Violin 1925 1928 Davis Barry Mr Cor Anglais/Oboe 1981 1985 Principal Davis Michael Mr Violin 1979 1987 Leader Dawson Harold Mr Cello 1953 1954 De Leeuw John (Jacobus) Mr Violin 1933 1953 De Mont Willem Mr Cello 1933? 1954 Principal de Peyer Gervase Mr Clarinet 1955 1972 Principal de Roode Joseph Mr Violin 1953 1966 de Saulles Michael Mr Violin 1957 1976 Co-Principal Denman John Mr Viola 1933 1939 Dennis (William) James Mr Horn 1947 1953 Devenport Christopher Mr Trombone 1955 1960 Dimitroff Pashanko Mr Double Bass 1959 1988 Doff Kenneth Mr Violin 1950 1951 Donaldson Charles (Charlie) Mr Percussion 1953 1962 Principal List compiled March 2021 Former Members of the London Symphony Orchestra Last Name First Name Title Instrument Start Year End Year Highest Rank attained (if known) Dorling Cecil Mr Viola 1909 1928 Douglas Roy Mr Keyboards & Librarian 1933 1939 Downes Herbert Mr Viola 1940s Not known Downing Stanley Mr Killed in action Not known 1944 Drake Francis Roland Mr Violin 1934 1953 Draper Mendelssohn P.
Recommended publications
  • 1 Requirements for the Call to Establish the Oboe/Cor Anglais
    Requirements for the call to establish the oboe/cor anglais substitution pool for the Barcelona Symphony Orchestra 1- Purpose of the call The purpose of this call is the creation of a substitution pool, with the category of Senior Professor of Music (Tutti) in the specialty of oboe/cor anglais, to be hired in the mode of temporary employment, based on the needs of the Consorci de L’Auditori i l’Orquestra in the department of the Barcelona Symphony Orchestra (hereinafter OBC). The incorporation of temporary work personnel shall be limited to the circumstances established in the regulations, in line with the general principle of hiring staff at L'Auditori by means of passing through selective processes and whenever there are reasons for the maintenance of essential services, specifically: Temporary replacement of the appointees; Increase in staff for artistic needs for the temporary execution of programmes; The incorporations in any case must be made in accordance with the conditions stemming from the budgetary regulations. The incorporation of temporary work personnel shall be governed by the labour relations of a special nature for artists in public performances provided for in the Workers’ Statute and regulated by Royal Decree 1435/1985. The remuneration and the working hours shall be that agreed upon in the collective bargaining agreement. 2- Requirements for participation All requirements must be met by the deadline for submission of applications and must be maintained for as long as the employment relationship with the Consorci de l’Auditori i l’Orquestra should last. - Be at least 16 years of age and not exceed the age established for forced retirement.
    [Show full text]
  • Families 2) Draw a Line Between Each Instrument and Its Orchestral Family
    Musical Instruments Worksheet 1 Name ......................................... 1) Draw a line between each instrument and its name.Families 2) Draw a line between each instrument and its orchestral family. String Family Timpani Brass Family Trumpet Percussion Family Violin Woodwind Family Trombone Clarinet 3. Write the name of another instrument in the STRING FAMILY .......................................... 4. Write the name of another instrument in the BRASS FAMILY ........................................... 5. Write the name of another instrument in the PERCUSSION FAMILY ................................ 6. Write the name of another instrument in the WOODWIND FAMILY .................................. 7. To which family does the XYLOPHONE belong? ............................................................... Musical Instruments Worksheet 3 Name ......................................... Multiple Choice (Tick the correct family) String String String Oboe Brass Double Brass Bass Brass Woodwind bass Woodwind drum Woodwind Percussion Percussion Percussion String String String Cymbals Brass Bassoon Brass Trumpet Brass Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String French Brass Cello Brass Clarinet Brass horn Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String Cor Brass Trombone Brass Saxophone Brass Anglais Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String Viola Brass Castanets Brass Euphonium Brass Woodwind Woodwind Woodwind Percussion Percussion
    [Show full text]
  • 5-1 Shostakovich's Knowledge and Understanding of the Oboe and Cor
    5-1 CHAPTERS MELODIC ASPECTS 5.1 Introduction Shostakovich's knowledge and understanding of the oboe and cor anglais are clearly reflected in the allocation of solo material throughout his 15 symphonies. 5.2 Allocation of solo material to the oboe Although the oboe is clearly not Shostakovich's favourite instrument, the solo material reveals a deft understanding of the instrument's technical and lyrical capabilities. Symphonies No.2, 11 and 13, however, have no solos for the oboe. The oboes are not used in Symphony No. 14 as it is scored for strings, percussion and soloists. As early as Symphony No. 1 Shostakovich establishes himself with insight as an orchestrator of oboe solos. A wide range of dynamic indications accompany the oboe solos, unlike the cor anglais whose predominantly allocated dynamic range is piano. Shostakovich writes very sympathetically for the player by not exhausting his stamina and by allowing sufficient rests in solo passages and avoiding long phrases. Solo passages are sometimes given to the second oboe and cor anglais in unison or in thirds, sixths or otherwise (see Ex. 5-5). Solo passages are also sometimes shared with other woodwind instruments. Oboe solos are generally approximately 8 bars long, although longer solos are found in Symphonies No.1, 4, 7 and 10 with 16 or more bars in length. The first movement of Symphony No.7 has the longest solo of 35 bars in which the bassoon and first oboe have solos in free imitation. Oboe solos are often supported by a characteristic tremolo string accompaniment, or by sustained strings or low woodwinds.
    [Show full text]
  • The Source Spectrum of Double-Reed Wood-Wind Instruments
    Dept. for Speech, Music and Hearing Quarterly Progress and Status Report The source spectrum of double-reed wood-wind instruments Fransson, F. journal: STL-QPSR volume: 8 number: 1 year: 1967 pages: 025-027 http://www.speech.kth.se/qpsr MUSICAL ACOUSTICS A. THE SOURCE SPECTRUM OF DOUBLE-REED WOOD-VIIND INSTRUMENTS F. Fransson Part 2. The Oboe and the Cor Anglais A synthetic source spectrum for the bassoon was derived in part 1 of the present work (STL-GPSR 4/1966, pp. 35-37). A synthesis of the source spectrum for two other representative members of the double-reed family is now attempted. Two oboes of different bores and one cor anglais were used in this experiment. Oboe No. 1 of the old system without marking, manufactured in Germany, has 13 keys; Oboe No. 2, manufactured in France and marked Gabart, is of the modern system; and the Cor Anglais No. 3 is of the old system with 13 keys and made by Bolland & Wienz in Hannover. Measurements A mean spectrogram for tones within one octave covering a frequen- cy range from 294 to 588 c/s was produced for the oboes by playing two scrics of tones. One serie was d4, e4, f4, g4, and a and the other 4 serie was g 4, a4, b4, c 5' and d5. Both series were blown slurred ascending and descending in rapid succession, recorded and combined to a rather inharmonic duet on one loop. The spectrograms are shown in Fig. 111-A- 1 whcre No. 1 displays the spectrogram for the old sys- tem German oboe and No.
    [Show full text]
  • Heckelphone / Bass Oboe Repertoire
    Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org.
    [Show full text]
  • First Edition August 2017
    MUSIC FOR CONTRABASS CLARINET First Edition August 2017 Sarah Watts This catalogue of music written for and featuring contrabass clarinet is the product of a 2016 Teaching Award from the Royal Northern College of Music, UK. This PDF catalogue is freely available on my website - www.sarahkwatts.co.uk. It will be updated on a regular basis and any additions should be emailed to [email protected] My thanks go to RNCM for supporting this project, BK and Jessica Son at Silverstein works for help with designing the cover and Henri Selmer Paris, friends and colleagues for continued help and support with all of my work. Sarah Watts - July 2017 © Sarah Watts 2017 contents solo contrabass clarinet contrabass clarinet + 1 contrabass clarinet + 2 contrabass clarinet + 3 contrabass clarinet + 4 contrabass clarinet + 5 contrabass clarinet + 6 or more contrabass clarinet + electronics contrabass clarinet + orchestra/ensemble solo contrabass clarinet Andre, Mark Chrysakis, Thanos iv 7 Dark Light / Μαύρο Φως 2008 2017 Verlag/ C. F. Peters Aural Terrains 15 minutes Aperghis, Georges Solo Corbett, Sidney 2013 “ein Fremdling wie alle meine Väter …” self-published/didascalia 2010 20 minutes Edition Nova Vita www.edition-ex-tempore.de Baley, Virko 11 minutes Treny Laments 1996 Czaplowski, Philip publisher unknown Ocean Greyness 2003 Barrett, Richard Self published interference CBCL + voice & pedal drum1996-2001 Deutsch, Bernd Richard UMP Orcus Nr. 22 12 minutes Bote & Bock 10 minutes Bianchi, Oscar Alteritas Donatoni, Franco manuscript only Ombre 1984
    [Show full text]
  • Sound Sets in Sibelius 2
    Sound sets in Sibelius 2 For advanced users only! Before attempting to create your own sound set, it is worth checking if one is already available: see the online Help Center at http://www.sibelius.com/helpcenter/resources/ for the latest additions. Disclaimer Sound sets are complex files and are not designed to be user-editable. Using a sound set with incorrect syntax may cause your copy of Sibelius to behave unpredictably or even crash. Sibelius Software accepts no responsibility for any loss of data or other problems experienced as a result of editing the supplied sound sets or creating new ones. This document is provided ‘as is’, and no warranty, implied or otherwise, covers the information contained within. Please also note that we do not offer technical support on the editing or creation of sound set files. Filenames The filename of a sound set file is insignificant (i.e. it is not shown in the Play Z Devices dialog), but we recommend that it should be fairly descriptive. It should also be 31 characters or less (including the .txt file extension) to ensure compatibility with all file systems. Sound set syntax Please refer to the General MIDI.txt file inside C:\Program Files\Sibelius Software\Sibelius 2\Sounds for an example of correct sound set syntax. In fact, you may wish to copy this file and use it as the basis of your own sound set. The sound set starts with an open brace { and ends with a closing brace }. The body of the sound set contains the following fields within the opening and closing braces as a series of ‘tree nodes’, in this order: MIDIDevice Syntax: MIDIDevice "GM (General MIDI)" The name of the device, e.g.
    [Show full text]
  • Fiche Sur Le Cor Anglais
    Le Cor Anglais C’est le compagnon le plus fidèle du hautbois. Dans un orchestre, il y a généralement deux hautbois et un cor anglais. Le Cor Anglais est plus grave que le hautbois (d’une quinte), ce qui le place entre le hautbois et le basson. Le son de l’instrument est émis par l’intermédiaire d’une anche double posée sur un bocal (voir ci-dessous) Le mécanisme est identique (juste plus étiré) à celui du hautbois. HISTORIQUE Il est difficile d’avoir des certitudes quant à l’origine du nom de l’instrument sachant qu’il n’a rien à voir avec la famille des cors. Inventé en Allemagne en 1720, il fut appelé tantôt waldhautbois, tantôt corne d’anglois. Bach l’appelait « oboe da caccia » - hautbois de chasse - Deux hypothèses co-existent : ¤ Vers 1730, un musicien français aurait découvert lors d’un voyage chez J.S. Bach, un instrument à anches doubles, plus grave que le hautbois qu’il connaissait. Il aurait été envoûté par la chaleur et la couleur de son timbre et, rentré à Paris, en aurait fait un éloge très appuyé. Il disait avoir entendu parler d’un « englisches horn ». Or, de toute vraisemblance, l’instrument était nommé « engelisches horn » traduction – cor angélique – de par le velouté du son. C’est le terme de « englisches horn » qui a été retenu en France – cor anglais -. ¤ Deuxième version: Le cor anglais est très vite devenu un instrument militaire. Pour pouvoir le jouer aisément, sans danger pour le musicien, sur un cheval, et pour faciliter le bouchage des trous assez éloignés les uns des autres, l’instrument a longtemps été pourvu d’une courbure importante.
    [Show full text]
  • Atlantic City
    Pitch Stop Name Pipe Count Voice Number Notes Left Jamb Pedal Right 64 Diaphone 85 17 32 Sub Principal 21 32 Contra Tibia 97 1 21 1/3 Tibia Quint 1 16 Diaphone Phonon 39 2 50" 16 Diapason 22 16 Principal 109 4 16 Diapason 21 16 Geigen Principal 82 16 Tibia Major 85 3 16 Grand Bourdon 1 16 Major Flute 59 16 Wald Flute 81 16 Tibia Clausa 83 16 Viol 85 5 12 4/5 Gross Tierce 68 6 10 2/3 Diaphone Quint 2 50" 10 2/3 Tibia Quint 1 10 2/3 Tibia Quint 3 10 2/3 Principal Quint 4 10 2/3 Minor Quint 83 9 1/7 Septieme 68 7 8 Octave Principal 4 8 Octave Major 22 8 Octave Diapason 85 8 Octave Geigen 82 8 Gross Gemshorn 87 8 Tibia Major 3 8 Tibia Clausa 1 8 Doppel Gedeckt 86 8 Octave Viol 5 6 2/5 Gross Tierce 6 5 1/3 Tibia Quint 3 5 1/3 Principal Quint 4 5 1/3 Tibia Quint 1 4 4/7 Gross Septieme 7 4 Super Octave 4 4 Super Octave 85 4 Tibia Fifteenth 3 4 Flute Fifteenth 1 4 Viol Fifteenth 5 3 1/5 Tierce 6 2 2/3 Flute Nineteenth 1 2 2/3 Tibia Major Nineteenth 3 2 2/3 Viol Nineteenth 5 2 2/7 Septieme 7 2 Tibia Twenty-Second 4 2 Flageolet 81 1 3/5 Octave Tierce 6 1 1/3 Tibia Twenty-Sixth 3 64 Dulzian 17 42 2/3 Contra Dulzquint 17 32 Contra Bombardon 85 8 32 Contra Dulzian 17 21 1/3 Dulzian Quint 17 16 Grand Ophicleide 85 9 100" 16 Tuba Magna 73 50" 16 Bombardon 8 16 Trumpet Profunda 74 16 Dulzian 17 16 Trumpet 97 10 16 Saxophone 96 16 Krummhorn 100 16 Oboe Horn 95 Reed Mixture V Mixture 1 1/7 Octave Septieme 7 1 Flute Twenty-Ninth 1 16 English Horn 97 16 French Horn 98 16 Vox Baryton 99 10 2/3 Bombard Quint 8 10 2/3 Dulzian Quint 17 8 Ophicleide 9 100" 8 Octave
    [Show full text]
  • CONFERENCE CENTER the CHURCH of JESUS CHRIST of LATTER-DAY SAINTS Salt Lake City, Utah Five Manual and Pedal Organ 103 Voices – 130 Ranks Electric-Pneumatic Action
    SCHOENSTEIN & CO. 139 CONFERENCE CENTER THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS Salt Lake City, Utah Five Manual and Pedal Organ 103 Voices – 130 Ranks Electric-Pneumatic Action GREAT (II – 5½" Wind) SWELL (Contd.) 2 32' Dulciana 61 Pipes 2 /3' Cornet (III – mf) 183 Pipes 16' Double Open Diapason 61 " 2' Plein jeu (V – f) 276 " 16' Bourdon (Wood) 61 " 32' Contra Fagotto (10" Wind) 68 " 8' Stentor Diapason (Solo) 16' Bombarde 68 " 8' Large Open Diapason (7½" Wind) 61 " 16' Fagotto (10" Wind) 12 " 8' Open Diapason 61 " 8' Trompette 68 " 8' Horn Diapason† 61 " 8' Cornopean (10" Wind) 68 " 8' Gamba† 61 " 8' Oboe 68 " 8' Gemshorn 61 " 8' Voix humaine†† 61 " 8' Harmonic Flute† 61 " 4' Clairon harmonique 68 " 8' Doppelflöte†(Wood) 61 " 4' Clarion (10" Wind) 68 " 4' Principal (7½" Wind) 61 " Tremulant 4' Octave 61 " ††Heavy wind – no Tremulant 4' Octave Gemshorn† 61 " †Separate Tremulant draws with 4' Forest Flute† 61 " Voix humaine stop knob 2 2 /3' Twelfth 61 " 2' Fifteenth 61 " CHOIR (I – Enclosed – 5½" Wind) 3 1 /5' Seventeenth 61 " 16' Bass Viol 68 Pipes 2' Full Mixture (IV-V – ff – 7½" Wind) 266 " 8' Viola Pomposa 68 " 2' Mixture (IV – f) 215 " 8' Viola Celeste 68 " 1 1 /3' Sharp Mixture (III – mf) 175 " 8' Echo Gamba 68 " 16' Bass Trumpet (7½" Wind) 61 " 8' Gamba Celeste 68 " 8' Trumpet (7½" Wind) 61 " 8' Viole d’orchestre 68 " 4' Clarion (7½" Wind) 61 " 8' Viole céleste 68 " 8' Tuba Mirabilis (Orchestral) 16' Lieblich Bourdon (Metal) 68 " 8' Millennial Trumpet (Solo) 8' Lieblich Bourdon 12 " Trumpet 8' Concert Flute (Wood) 68
    [Show full text]
  • FOMRHI Quarterly
    Bitna Dal Cortivo Quarterly No. 61 October 1990 FOMRHI Quarterly BULLETIN 61 2 Bulletin Supplement 8 Menbership List Supplement separate cover COMMUNICATIONS 988- REVIEWS: Flute, by S. Gunji; I Quaderni della Civico Scuola 993 di Musica, no.17, Apr. 1989, by Commune de Milano; Larigot 8, Sept. 1990; Catalogue ... Ueno Gakuen Collection ... Supplement; Restoration of Early Musical Instruments, by U. K. Inst, for Conservation; Jaarboek van het Vlaamse Centrum voor Oude Muziek III, 1987 J. Montagu 11 994 1990 instrument courses in Prague D. Freeman 16 996 Reviewers and reviewing R. Chiverton 17 996 Response to Bulletin Supplement 60 P. Hailperin 18 997 Reviews of musical instruments J. Rawson 18 998 Further still to Comm. 981 S. Lambert 19 999 Finding fault in the early bassoon: some thoughts on musicasical instrument reviewing P. White 20 1000 Re: Comms 981 and 982 P. Bavington 25 1001 Should FoMRHI continue or not U. Henning 26 1002 A controversial issue A. Powell 27 1003 "Fixing" the baroque flute A. Powell 30 1004 The sorduen-bas B. Lloyd 33 1005 Misled by Mersenne? R. Chiverton 38 1006 Ivory alternatives J. Paul 39 1007 How to design a recorder M. Brach 40 1008 Violin-makers' inches in proportion M. M. Smith 48 1009 A comparison of some baroque violins M. M. Smith 52 1010 The early design of stringed instruments R. Chiverton 54 1011 The acoustics of mountain forests in early centuries, or a lost art of choosing resonance wood R. Gug 56 FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS Hon. Sec: J. Montagu, c/o Faculty of Music, St.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]