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The Clarinet
The clarinet has a long and rich history as a solo, orchestral, and chamber musical instrument. In this broad-ranging account Eric Hoeprich, a performer, teacher, and expert on historical clarinets, explores its development, repertoire, and performance history. Looking at the antecedents of the clarinet, as well as such related instruments as the chalumeau, basset horn, alto clarinet, and bass clarinet, Hoeprich explains the use and development of the instrument in the Baroque age. The period from the late 1700s to Beethoven's early years is shown to have fostered ever wider distribution and use of the instrument, and a repertoire of increasing richness. The first half of the nineteenth century, a golden age for the clarinet, brought innovation in construction and great virtuosity in performance, while the following century and a half produced a surge in new works from many composers. The author also devotes a chapter to the role of the clarinet in bands, folk music, and jazz.
Women & Music
The second edition of the “milestone” work of history that focuses on female musicians through the ages (College Music Symposium). This updated, expanded, and reorganized edition of Women and Music features even more women composers, performers, and patrons, even more musical contexts, and an expanded view of women in music outside Europe and North America. A popular university textbook, Women and Music is enlightening for scholars, a good source of programming ideas for performers, and a pleasure for other music lovers.
The Musical World of Marie-Antoinette
For decades, eighteenth-century Paris had been declining into a baroque backwater. Spectacles at the opera, once considered fit for a king, had become "hell for the ears," wrote playwright Carlos Goldoni. Then, in 1774, with the crowning of Louis XVI and Marie-Antoinette, Paris became one of the world's most vibrant musical centers. Austrian composer Christophe-Willibald Gluck, protege of the queen, introduced a new kind of tragic opera--dramatic, human and closer to nature. The expressive pantomime known as ballet d'action, forerunner of the modern ballet, replaced stately court dancing. Along the boulevards, people whistled lighter tunes from the Italian opera, where the queen's favorite composer, Andre Modeste Gretry, ruled supreme. This book recounts Gluck's remaking of the grand operatic tragedy--long symbolic of absolute monarchy--and the vehement quarrels between those who embraced reform and those who preferred familiar baroque tunes or the sweeter melodies of Italy. The turmoil was an important element in the ferment that led to the French Revolution and the beheading of the queen.
The Clarinet in Spain
This book is the first monograph about clarinet and wind music in Spain, studying the professionalisation of the Spanish clarinettists from the early 19th century. The social, academic and professional environment of wind musicians are addressed here through the case study of clarinettist, teacher, composer and deputy bandmaster of the Municipal Wind Band of Madrid, Miguel Yuste Moreno (1870-1947). An analysis and study of the national and international influences on the Spanish clarinet repertoire is offered here, especially, the premiere of Brahms's chamber music for clarinet.
School of Music, Theatre & Dance (University of Michigan) Publications
Includes miscellaneous newsletters, bulletins, programs, brochures, articles, calendars, histories, and posters.
Notes for Clarinetists
Notes for Clarinetists: A Guide to the Repertoire offers historic and analytical information concerning thirty major works for solo clarinet, clarinet and piano, and clarinet and orchestra. This information will enhance performance and be useful in preparing and presenting concerts, and recitals.
Beethoven's Chamber Music in Context
A noted violinist and conductor, Watson is particularly well suited for his chosen task: outlining the historical context and character of more than 50 of the chamber works that Beethoven composed during his years in Vienna. Avoiding the pitfalls of becoming too critical or "academic," the author characterizes each composition in general terms only, and does not discuss changing styles of performance. Instead, Watson provides information on a work's historical background and character, and on the musical points of interest in each movement. He pays special attention to the influence of Beethoven's large-scale compositions on his chamber music, and on the composer's increasing mastery of improvisation. Filling a hole in scholarship on Beethoven's compositions, this book will be greatly appreciated by professional and amateur musicians.
Brahms: Clarinet Quintet
On its first appearance in 1891, Brahms' Clarinet Quintet was immediately recognised as a remarkable achievement, and a century later it still has the power to claim the hearts and minds of players and audiences alike. Widely regarded as Brahms' supreme achievement in the field of chamber music, the Clarinet Quintet is here placed in the context of the history of the clarinet and its repertory, and of Brahms' own compositions before 1891. The influence of the Meiningen clarinet virtuoso Richard Mühlfeld unleashed a new vein of creativity in Brahms, and this forms a basis for discussion, together with questions of performance practice (in relation to both clarinet and string quartet) and the legacy of Brahms' clarinet music. These chapters are complemented by a comprehensive analysis of the music.
A Clarinet Almanac
More than 60 years’ experience in playing the clarinet has led to a very personal and idiosyncratic review of the repertoire. From the point of view of being both a player and a programmer the author has endeavoured to find works for unusual combinations involving the clarinet. This book includes a few orchestral solos and several vocal works (both chamber and operatic), but it is focussed on chamber music and includes gems from the repertoire for the standard wind quintet. The clarinet features as a solo instrument, in duos with a surprisingly large variety of instruments and in mixed trios, quartets and so on to larger ensembles. During the course of one year the reader will be exposed to 366 works, probably some unfamiliar, by 245 different composers. The author hopes it will whet the appetites of students, teachers and concert organizers alike.
