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Liebesfuß
A Liebesfuss or Liebesfuß (; ; ) is a pear- or bulb-shaped element that narrows to a small opening in double reed instruments such as the oboe d'amore, cor anglais and heckelphone, as well as on some single reed instruments. It serves as a damper that gives these musical instruments a characteristically soft timbre. It is the eponymous characteristic of the oboe d'amore, which was developed in the baroque The Baroque ( , , ) is a Western Style (visual arts), style of Baroque architecture, architecture, Baroque music, music, Baroque dance, dance, Baroque painting, painting, Baroque sculpture, sculpture, poetry, and other arts that flourished from ... alongside other particularly sweet-sounding instruments such as the viola d'amore and the clarinet d'amore, which originated around 1740, died out in the mid-19th century, and was redeveloped from 2017 to 2020 on the basis of a basset clarinet in G. A slightly larger and 90-degree angled love foot, which can be rotated both for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cor Anglais
The cor anglais (, or original ; plural: ''cors anglais''), or English horn (mainly North America), is a double-reed woodwind instrument in the oboe family. It is approximately one and a half times the length of an oboe, making it essentially an alto oboe in F. The cor anglais is a transposing instrument pitched in F, a perfect fifth lower than the oboe (a C instrument). This means that music for the cor anglais is written a perfect fifth higher than the instrument sounds. The fingering and playing technique used for the cor anglais are essentially the same as those of the oboe, and oboists typically double on the cor anglais when required. The cor anglais normally lacks the lowest B key found on most oboes, and so its sounding range stretches from E3 (written B) below middle C to C6 two octaves above middle C. Some versions being made today have a Low B key to extend the range down one more note to sounding E3. Description and timbre The pear-shaped bell (called Liebesfuß ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oboe D'amore
The ; (), less commonly (), is a double reed woodwind musical instrument in the oboe family. Slightly larger than the oboe, it has a less assertive and a more tranquil and serene tone, and is considered the mezzo-soprano of the oboe family, between the oboe (soprano) and the cor anglais, or English horn, (alto).Norman Del Mar, ''Anatomy of the Orchestra'' (Berkeley: University of California Press, 1981): 143. (cloth); . It is a transposing instrument, sounding a minor third lower than it is notated, i.e. in A, so it can also be known as a Mezzo-Soprano Oboe. The bell (called ) is pear-shaped and the instrument uses a crook or bocal, similar to but shorter than that of the cor anglais. Invention and use The oboe d'amore was invented in the eighteenth century and was first used by Christoph Graupner in his cantata (1717). Johann Sebastian Bach wrote many pieces—a concerto, many of his cantatas, and the movement of his Mass in B minor—for the instrument. Georg Philipp T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basset Clarinet
The basset clarinet is member of the clarinet family similar to the usual soprano clarinet but longer and with additional keys to enable playing several additional lower notes. Typically a basset clarinet has keywork going to a low (written) C or B, as opposed to the standard clarinet's E or E. The basset clarinet is most commonly a transposing instrument in A, although basset clarinets in C and B and very seldom in G also exist. The similarly named basset horn is also a clarinet with extended lower range, but is in a lower pitch (typically F); the basset horn predates, and undoubtedly inspired, the basset clarinet. History The earliest surviving instruments in Paris and London museums date from 1770. The basset clarinet was most notably associated with the clarinet virtuoso Anton Stadler (1753–1812), a contemporary and good friend of Mozart. The instrument used by Stadler was invented and built by the Vienna K.K. court instrument maker Theodor Lotz around 1788. It has long ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double Reed
A double reed is a type of reed used to produce sound in various wind instruments. In contrast with a single reed instrument, where the instrument is played by channeling air against one piece of cane which vibrates against the mouthpiece and creates a sound, a double reed features two pieces of cane vibrating against each other. This means, for instruments with the double reed fully exposed, that the air flow can be controlled by the embouchure from the top, bottom and sides of the reed. The term ''double reeds'' can also refer collectively to the class of instruments which use double reeds. Structure and dimensions The size and shape of the reed depend on the type of double-reed instrument which is of two groups, conical and cylindrical. Even within families of instruments, for example, the oboe family, the reed for the oboe is quite different from that for the cor anglais (English horn). Oboe reeds are usually 7 mm (0.3 in) in width, while bassoon reeds are wider, from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heckelphone
The heckelphone () is a musical instrument invented by Wilhelm Heckel and his sons. The idea to create the instrument was initiated by Richard Wagner, who suggested its concept at the occasion of a visit of Wilhelm Heckel in 1879. Introduced in 1904, the heckelphone resembles an oboe but is pitched an octave lower, similar to the bass oboe. In addition to the pitch difference, the heckelphone has a larger bore. General characteristics The heckelphone is a double reed instrument of the oboe family, but with a wider bore and hence a heavier and more penetrating tone. It is pitched an octave below the oboe and furnished with an additional semitone taking its range down to A. It reads in treble clef sounding one octave lower than written. It was intended to provide a broad oboe-like sound in the middle register of the large orchestrations of the turn of the twentieth century. In the orchestral repertoire it is generally used as the bass of an oboe section incorporating the oboe and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Galpin Society Journal
The Galpin Society was formed in October 1946 to further research into the branch of musicology known as organology, that is the history, construction, development and use of musical instruments. Based in the United Kingdom, it is named after the British organologist and musical instrument collector, Canon Francis William GalpinGalpin Society. ''Grove Music Online'' (Oxford University Press; 2001) (1858–1945), who had a lifelong interest in studying, collecting, playing, making and writing about musical instruments. The membership in 1999 was around a thousand. The society's founder members were keen to form a society to promote the historical study of all kinds of musical instruments. The founding members included academics, professional and amateur performers, and private collectors, including Anthony Baines, Robert Donington, Hugh Gough, Eric Halfpenny, Edgar Hunt, Eric Marshall Johnson, Lyndesay Langwill, Reginald Morley-Pegge, F. Geoffrey Rendall and Maurice Vincent.Diana ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Timbre
In music, timbre (), also known as tone color or tone quality (from psychoacoustics), is the perceived sound of a musical note, sound or tone. Timbre distinguishes sounds according to their source, such as choir voices and musical instruments. It also enables listeners to distinguish instruments in the same category (e.g., an oboe and a clarinet, both woodwinds). In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctive with its own unique tone color. Musicians distinguish instruments based on their varied timbres, even instruments playing notes at the same pitch and volume ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Music
Baroque music ( or ) refers to the period or dominant style of Classical music, Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance music, Renaissance period, and was followed in turn by the Classical period (music), Classical period after a short transition (the Galant music, galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "Western art music, classical music" Western canon, canon, and continues to be widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word ''barroco'', meaning "baroque pearl, misshapen pearl". Key List of Baroque composers, composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Georg Philipp Telemann, Domenico Scarlatti, Claudio Monte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viola D'amore
The viola d'amore (; ) is a 7- or 6- stringed musical instrument with additional sympathetic strings used chiefly in the baroque period. It is played under the chin in the same manner as the violin. Structure and sound The viola d'amore shares many features of the viol family. It looks like a thinner treble viol without frets and sometimes with sympathetic strings added. The six-string viola d'amore and the treble viol also have approximately the same ambitus or range of playable notes. Like all viols, it has a flat back. An intricately carved head at the top of the peg box is common on both viols and viola d'amore, although some viols lack one. Unlike the carved heads on viols, the viola d'amore's head occurs most often as Cupid blindfolded to represent the blindness of love. Its sound-holes are commonly in the shape of a flaming sword known as "The Flaming Sword of Islam" (suggesting the instrument's development was influenced by the Islamic World). This was one of the thre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clarinet D'amore
The clarinet d'amore or clarinet d'amour is a musical instrument, a member of the clarinet family. Construction and tone In comparison with the B and A soprano clarinets, the clarinet d'amore has a similar shape and construction, but is generally larger, usually transposing instrument, pitched in G. The clarinet d'amore has proportionally smaller tone holes and a proportionally smaller bore (wind instruments), bore compared to the soprano clarinet, generally around the same size as the bore and tone holes found on the soprano clarinet itself. The instrument also has a pear-shaped or globular bell (called Liebesfuss) similar to that of the cor anglais; these features give the instrument its distinctive timbre. Due to their large size, they also feature a curved metal neck to bring the instrument to a more comfortable playing position, though instruments with curved wooden necks exist. Fingerings are generally the same as other members of the clarinet family, however modern examp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles Neidich
Charles Neidich (born 1953 in New York City) is an American classical clarinetist, composer, and conductor. Early career A native New Yorker of Russian and Greek descent, Charles Neidich began his clarinet studies with his father, Irving Neidich, at the age of eight, and continued them with the renowned teacher Leon Russianoff and, later in Moscow, with Boris Dikov. His reputation has grown steadily since his 1974 New York recital début while still a student at Yale. A series of prizes helped launch his early career: the Silver Medal in the 1979 Geneva International Music Competition, Second Prize in the 1982 Munich International Competition and one of three Grand Prizes in the 1984 Accanthes International Competition in Paris. In 1985, he won the first major clarinet competition in the United States, the Walter W. Naumburg Competition, which catapulted him into prominence as a soloist. Accomplishments Neidich has been influential in restoring original versions of works and bri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
