DOCSLIB.ORG

Issue 9, Page 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Issue 9, Page 2 HISTORIC BRASS SOCIETY NEWSLETTER - - - News, Views, Notes and Comments for Members and Friends of the Historic Brass Society - - - -+ Issue Number 9 ISSN - 1045-4594 Summer, 1996 HBS Publications: Stewart Carter, Journal Executive Editor; Karen Snowberg, Newsletter bcutive Editor; Jeffrey Nussbaum, Managing Editor; Bany Bauguess,Journal Production; Martha Bixler, Anne Bonn, Sandra Coffin,Michael Collver, Peter Ecklund, Douglas Kirk, Jeremy Montagu, Steven Plank, Richard Seraphinoff,Jefiey Snedeker and Chris Whitehead, Associate Editors. Historic Brass Society: Executive Committee:Jeffrey Nussbaum, President; Jefiey Snedeker, Treasurer; Karen Snowberg, Secretary; Thomas Huener, Membership Secretary, Tom Reicher, Counsel. Board of Directors: Stephen C. Anderson, Bany Bauguess, Stewart Carter, Trevor Herbert, Jeffky Nussbaum, Keith Polk, Jeffky Snedeker, Karen Snowberg. Board of Advisors: Michael Collver, Allan Dean, Bruce Dickey, Ralph T. Dudgeon, Stephen Escher, Douglas Hedwig, Fred Holmgren, Douglas Kirk, Craig Kridel, William G. Mathews, Viola Roth, Richard Seraphinoff, Crispian Steele-Perkins, Robert Stibler, Franz Streitwieser and Edward H. Tam. O Copyright 1996. The Historic Brass Society Newsletter is published annually by The Historic Brass Society, Inc. CONTENTS Page HBS Financial Report .................................................................................................................................................................2 Historic Brass Society Hosts International Historic Brass Symposium-- Jeffrey Nussbaum ....................................................3.. So How Many Holes Is a Baroque Trumpet Supposed to Have? -- Tim Collins ....................................................................I.. I 1996 Survey of Natural Trumpet Makers -- Fred Holmgren ....................................................................................................15 Classified Section .................................................................................................................................................................19.... No Hot Air Here ... -- Bob Rieder ........................................................................................................................................... 20 A Cacophony of Cornettists -- Susan Smith ............................................................................................................................. 26 A Conversation with John Wallace and Trevor Herbert -- Ralph Dudgeon ............................................................................. 33 Grand Concert! A New Exhibition on New Hampshire Town Bands -- Richard C. Spicer ...................................................37 The First International Altenburg Competition -- Anne Hardin ............................................................................................41 Recording Reviews ...................................................................................................................................................................44 Music Edition Reviews .............................................................................................................................................................60 Book Reviews ........................................................................................................................................................................... 63 News of the Field ......................................................................................................................................................................65 Letters to the Editor .........................................................................................................................................................75......... Twelfth Annual Early Brass Festival ...................................................................................................................................... 78 PRESIDENT'S MESSAGE It would be easy for 1996 to seem something of a let-down after last year's remarkable International Historic Brass Symposium, the wonderful HBSNL #8 and HBU, v.7, the successful involvement with the National AMS Meeting, and the launching of our new book series with Pendra- gon Press, BUCINA: The Historic Brass Society Series. However, we seem to be going full speed ahead. The Early Brass Festival #12 at Amherst College promises to be a fantastic event with such notable performers and scholars as John Wallace, Wim Becu, Trevor Herbert, Benny Sluchin, Art Brownlow, Gary Towne, Charolette Leonard, Michael Collver, Douglas Kirk, Fred Holmgren, Barry Bauguess, Rick Seraphinoff, Allan Dean and many others who will be in attendance. We have a fantastic HBS Journal v.8 planned for this year and the HBS has continued to stimulate interest in early brass music and serve as an important resource center for everyone in the flield. The HBS has been fielding queries from literally every point of the globe that come in form of letters, phone calls, faxes, and e-mail, and now the HBS has a site on the world wide web which will further help us to be a forum for the exchange of ideas about every aspect of brass music. The www site is: http:Nwww.classical.net~music/guide/society/hbd We have plans to participate in the 1997 International Musicological Society's 16th Annual Congress in London and look forward to future collaborations with other organizations. Lastly, this space is the only place where I can publicly thank the many folks who help me run the HBS. The Board of Advisors, Board of Directors, Editorial Board and Executive Committee do an outstanding job throughout the year and I offer my thanks to them. In particular Stew Carter, Barry Bauguess, Karen Snowberg, Jeff Snedeker and Trevor Herbert have continued to be incredibly helpful offering guidance and friendship year after year. Thanks all. Jeffrey Nussbaum President, Historic Brass Society The Historic Brass Society - 148 W. 23rd Street, #2A - New York, NY 10011, USA - TelIFax (212) 627-3820 E-Mail: [email protected] WWW site: http://www.classical.net~music/guide/society/hbs/ FINANCIAL REPORT: HISTORIC BRASS SOCIETY, INC. FISCAL YEAR, January 1,1995 - December 31,1995 Cash on-hand, Jan. 1,1995 S -0- Financial Report Int '1 Historic Brass Synposium Ju& 25-30,1995 mANuTRANSACTIONS Amherst College, Amherst, Massachusetts ChewAcct WIav9sAcct EXPENSES (plus cash transactions) Guest Artist travel OPENING BALANCES S 5,024.26 E 2,23 1.90 Guest Artist housing Amherst Early Music (AEM) staff REVENUES Photocopies, supplies, plaque Membership dues, Church rental Library subscriptions 15,674.82 841.38 Accompanists (total) Advertising income 3 10.00 Stage he1 p Sales of back issues 3,037.50 Keyboard moving and tuning Rental of mailing list 130.27 TOTAL EXPENSES Account interest -0- 15.06 . REVENUES -Contributions 4.646.00 National Endowment for the Humanities TOTAL REVENUES $23,798.59 f 846.44 Grant (to HBS) f 9,766.00 Participant Registration Fees (to AEM) 7,040.00 Other Revenue OPERATING EXPENSES Symposium concert gate Contribution to International donations (to HBS) 550.00 Historic Brass Symposium Exhibitors' Fees (to HBS) 300.00 ($3,000) Miscellaneous donations (to HBS) 3,036.37. Journal and Newsletter cost HBS individual contribution 3.496.00 Postagelmailing Total Other Revenue 7.382.37 Photocopying Ofice supplies TOTAL REVENUES $24,188.37 Misc. clerical, legal, advertising, bank * Donations receivedfiom many sources, including: International Donation to Euro-ITG Trumpet Guild, Nelson Research, Inc., AT&T Foundation, International Telephone Horn Socie~Streitwieser Foundation TOTAL OPERATING EXPENSES: $25,627.91 f 1,999.86 Respectfblly submitted, Jeffrey L. Snedeker NET FISCAL LOSS S (1,829.32) f (1,143.42) Co-Director, International Historic Brass Symposium Treasurer, Historic Brass Society CLOSING BALANCES, December 3 1,1995 S 3,194.94 E 1,088.48 Cash on-hand, December 3 1,1995 S -0- r-------------------------------- I Cumulative Financial Status, I New HBS Submission Deadline I December 3 1, 1995 S 3,194.94 I I A new submission schedule has been established for the HBS + 1.605.73 (£1,088.48 ' ' I Journal and HBS Newsletter. I aS1.4752) I I $ 4,800.67 Article submissions for the HBS Journal must be submitted by ' Respectfblly submitted, Jeffrey L. Snedeker, Treasurer February 1. Six copies of the article plus a floppy disc and all I art work and illustrations must be sent. I I I Submissions for the HBS Newsletter must be submitted by I Marehl. I Notice of Annual Meeting '------------------------------,,." I The annual meeting of the Historic Brass Society, Inc. will be conducted at 4:00 PM, Saturday, July 31, 1993, at Amherst College, Arnherst, Massachusetts. Plans for the direction of the Historic Brass Society will be discussed. HBS Newsletter, Issue 9, Page 2 SO, HOW MANY HOLES IS A BAROQUE TRUMPET SUPPOSED TO HAVE? by Tim Collins During a recent professional perform- albeit by seventeenth- and eighteenth- An important element of the natural ance of Handel's Messiah in which I century standards (whatever they may trumpet, which is perhaps most variable played second trumpet, the first trumpet have been!). In this paper, I will briefly from one player to the next, is the mouth- player missed some notes in the bass aria explore the temperament of the natural piece. At the point at which the tone is "The Trumpet Shall Sound." When he trumpet and its modem counterpart, with generated it is the first element of the returned to his
Load more

Recommended publications
  • 559288 Bk Wuorinen US
    INNER CHAMBERS Royal Court Music of Louis XIV Couperin • Hotteterre • Lully • Marais • Montéclair Les Ordinaires Leela Breithaupt, Traverso Erica Rubis, Viola da gamba David Walker, Theorbo Inner Chambers Inner Chambers Royal Court Music of Louis XIV Royal Court Music of Louis XIV Introduction préluder sur la flûte traversière (‘The Art of Preluding on Jacques-Martin Hotteterre (1674–1763): Michel Pignolet de Montéclair the Flute’). In the manual, Hotteterre teaches his pupils L’Art de préluder sur la (1667–1737): Musical life at the court of Louis XIV was highly ritualised step by step how to improvise or write a prelude in various flûte traversière (1719) Brunetes anciènes et modernes (1725) and filled with dazzling formal public displays. However, keys, and ends with two preludes composed by the 1 Prelude in D major 4:20 $ Je sens naître en mon coeur 1:56 the Sun King also enjoyed music in his more private author. As one of the king’s employed chamber spheres. This debut album reveals the intimate sound musicians, Hotteterre was well respected both as a flautist François Couperin (1668–1733): Deuxième Concert – Suite (1720) 14:59 world that Louis XIV embraced in his inner chambers at and composer. the Palaces of Versailles and Fontainebleau. The music The French Suite was a very popular musical form Premier Concert (1722) 11:03 % Prélude 1:41 reflects the court’s aesthetic preferences: lavish display of which was typically comprised of several dance 2 Prélude 2:18 ^ Allemande 1:49 ornaments and affluence paired with strict hierarchies, movements including Allemande, Courante, Sarabande, 3 Allemande 1:59 & Courante à l’italienne 1:18 love of allegory, and an affected nostalgia for pastoral life Gavotte, Gigue and Menuet, among others.
    [Show full text]
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck
    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
    [Show full text]
  • Eubo Mobile Baroque Academy
    EUBO MOBILE BAROQUE ACADEMY EUROPEAN CO OPERATION PROJECT 2015 2018 INTERIM REPORT Pathways & Performances CONTENTS EUBO MOBILE BAROQUE ACADEMY........................................2?3 PARTNER ORGANISATIONS ....................................................4?13 INTERNATIONAL CONCERT TOURS ....................................14?18 MUSIC EDUCATION ...............................................................19?22 OTHER ACTIVITIES ................................................................23?25 HOW DO WE MAKE ALL THIS HAPPEN ................................26?27 WHO IS WHO................................................................................28 EUBO MOBILE BAROQUE ACADEMY The EUBO Mobile Baroque Academy (EMBA) co-operation project addresses the unequal provision across the European Union of baroque music education and performance, in new and creative ways. The EMBA project builds on the 30-year successful track-record of the European Union Baroque Orchestra (EUBO) in providing training and performing opportunities for young EU period performance musicians and extends and develops possibilities for orchestral musicians intending to pursue a professional career. From an earlier stage of conservatoire training via orchestral experience, through to the first steps in the professional world, musicians attending the activities of EMBA are offered a pathway into the profession. The EMBA activities supporting the development of emerging musicians include specialist masterclasses by expert tutors; residential orchestral selection
    [Show full text]
  • A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors.
    [Show full text]
  • Music in the Pavilion
    UNIVERSITY of PENNSYLVANIA LIBRARIES KISLAK CENTER Music in the Pavilion PHOTO BY SHARON TERELLO NIGHT MUSIC A SUBTLE AROMA OF ROMANTICISM Friday, September 27, 2019 Class of 1978 Orrery Pavilion Van Pelt-Dietrich Library Center www.library.upenn.edu/about/exhibits-events/music-pavilion .................................................................................. .................................................................................. .................................................................................. .................................................................................................................................................................... .................................................................................. ........... ............ ......... A SUBTLE AROMA OF ROMANTICISM NIGHT MUSIC Andrew Willis, piano Steven Zohn, flute Rebecca Harris, violin Amy Leonard, viola Eve Miller, cello Heather Miller Lardin, double bass PIANO TRIO IN D MINOR, OP. 49 (1840) FELIX MENDELSSOHN (1809–47) MOLTO ALLEGRO AGITATO ANDANTE CON MOTO TRANQUILLO SCHERZO: LEGGIERO E VIVACE FINALE: ALLEGRO ASSAI APPASSIONATO PIANO QUINTET IN A MINOR, OP. 30 (1842) LOUISE FARRENC (1804–75) ALLEGRO ADAGIO NON TROPPO SCHERZO: PRESTO FINALE: ALLEGRO The piano used for this concert was built in 1846 by the Paris firm of Sébastien Érard. It is a generous gift to the Music Department by Mr. Yves Gaden (G ’73), in loving memory of his wife Monique (1950-2009). ...................................................................................
    [Show full text]
  • Sum Mer Music
    EX CATHEDRA excathedra.co.uk Mus er ic m m u S by Candlelight CHOIR | CONSORT | ORCHESTRA | EDUCATION ARTISTIC DIRECTOR & CONDUCTOR JEFFREY SKIDMORE Summer Music by Candlelight St Peter’s Church, Wolverhampton Saturday 5 June 2021, 5pm & 8pm Hereford Cathedral Wednesday 9 June 2021, 3pm & 7.30pm St John’s Smith Square, London Thursday 10 June 2021, 5pm & 8pm Symphony Hall, Birmingham Sunday 13 June 2021, 4pm Programme Hymnus Eucharisticus Benjamin Rogers (1614-1698) Iam lucis orto sidere 6th century plainchant The Windhover (Dawn Chorus, 2020) Liz Dilnot Johnson (b.1964) Sumer is icumen in 13th century English Cuckoo! (1936) Benjamin Britten (1913-1976), arr. Jeffrey Skidmore Revecy venir du Printans Claude le Jeune (c.1528/1530-1600) READING - In defense of our overgrown garden - Matthea Harvey (b.1973) The Gallant Weaver (1997) James MacMillan (b.1959) READING - i thank You God most for this - e.e.cummings (1894-1962) Hymn to St Cecilia (1941- 42) Benjamin Britten READING - Gingo Biloba (1819) - Johann Wolfgang von Goethe (1749-1832) Trois Chansons (1914-15) Maurice Ravel (1875-1937) I Nicolette II Trois beaux oiseaux du Paradis III Ronde READING - maggie and milly and molly and may - e.e.cummings La Mer (1943) Charles Trenet (1913-2001), arr. Jeffrey Skidmore Summer Holiday (1963) Bruce Welch (b.1941) and Brian Bennett (b.1940), arr. Jeffrey Skidmore anyone lived in pretty how town (2018) Geoff Haynes (b.1959) READING - The evening sun retreats along the lawn (Summer Requiem 2015) - Vikram Seth (b.1952) Saint Teresa’s Bookmark (2018) Penelope Thwaites (b.1944) Te lucis ante terminum 7th century plainchant Night Prayer (2016) Alec Roth (b.1948) We would like to offer our thanks for their help and support to: - The Rev Preb.
    [Show full text]
  • Shofar Artifact Investigation
    Featured Artifact: Shofar http://historyexplorer.americanhistory.si.edu/resource/?key=2425 Era 6: The Development of the Industrial United States (1870-1900) Look at the artifact presented to you. In a few sentences, respond to the following questions: Describe: Objectively describe the artifact. What do you think it is made of? What does it look like? Does it look old or new? Is it intact, or is it damaged in some way? Analyze: When, where or how do you think this item was used? What kind of person may have created or used this item? What significance do you think the object held, either for the creator or the user? Do you see words or images on the artifact that connect it to others (besides the creator and user)? ……………………………………………………………………………………………………………………… Share your conclusions with a partner, then discuss the following: Evaluate : Justify why you came to those conclusions about the artifact. What further questions do you have about the object? Of those questions, which could you solve by observing the object in person and which would you need to solve with research? …………………………………………………………………………………………………………………… Background Information The shofar, one of the earliest known musical instruments, is usually made from a ram's horn. Used in biblical times to signal important events, it is also blown on High Holy Days (10 days in the fall of the year). It is sounded many times during the services of Rosh ha-Shanah (the Jewish New Year) and once to conclude Yom Kippur (the Day of Atonement). The blasts of the instrument are meant to wake slumbering souls to review their actions of the past year, to make amends, and to renew their devotion to work for the social and communal good in the coming year.
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • 50 Years in Rock History
    HISTORY AEROSMITH 50 YEARS IN ROCK PART THREE AEROSMITH 50 YEARS IN ROCK PART THREE 1995–1999 The year of 1995 is for AEROSMITH marked by AEROSMITH found themselves in a carousel the preparations of a new album, in which the of confusions, intrigues, great changes, drummer Joey Kramer did not participate in its termination of some collaboration, returns first phase. At that time, he was struggling with and new beginnings. They had already severe depressive states. After the death of his experienced all of it many times during their father, everything that had accumulated inside career before, but this time on a completely him throughout his life and could no longer be different level. The resumption of collaboration ignored, came to the surface. Unsuspecting and with their previous record company was an 2,000 miles away from the other members of encouragement and a guarantee of a better the band, he undergoes treatment. This was tomorrow for the band while facing unfavorable disrupted by the sudden news of recording circumstances. The change of record company the basics of a new album with a replacement was, of course, sweetened by a lucrative drummer. Longtime manager Tim Collins handled offer. Columbia / Sony valued AEROSMITH the situation in his way and tried to get rid of at $ 30 million and offered the musicians Joey Kramer without the band having any idea a contract that was certainly impossible about his actions. In general, he tried to keep the to reject. AEROSMITH returned under the musicians apart so that he had everything under wing of a record company that had stood total control.
    [Show full text]
  • A New Species of Instrument: the Vented Trumpet in Context
    1 A NEW SPECIES OF INSTRUMENT: THE VENTED TRUMPET IN CONTEXT Robert Barclay Introduction The natural trumpet is the one instrument not yet fully revived for use in the performance of Baroque music. A handful of recordings are available and very rarely a concert featuring solo performances on the instrument is given, but to a great extent the idiosyncrasies of the natural harmonic series are still considered to be beyond reliability in the recording studio or in live performance. Most current players have taken to using machine-made instruments with as many as four fi nger-holes placed in their tubing near to pressure nodes, so that the so-called “out-of-tune harmonics” of the natural series (principally f’/f#’, and a” ) will not be unpleasant to modern sensitivity. The vented instruments that have resulted from this recent “invention of tradition” are often equipped with so many anachronistic features that the result is a trumpet which resembles its Baroque counterpart only superfi cially, whose playing technique is quite different, and whose timbre is far removed from that expected for Baroque music. Among publications that deal with the compromises made to natural instruments in modern practice, those of Tim Collins, Richard Seraphinoff, and Crispian Steele-Perkins deserve especial mention. Collins provides an excellent summary of the characteristics of the natural trumpet, and an analysis of the current state of playing of the instrument.1 Seraphinoff concentrates on the early horn, and discusses the pros and cons of the use of vent holes in so-called historical performances.2 Steele-Perkins summarizes the develop- ment of the modern Baroque trumpet and provides practical advice on the selection of instruments3 All three authors highlight the tension that has arisen within the fi eld of early brass performance.
    [Show full text]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]