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Cornett
The cornett, cornetto, or zink is an early wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. It was used in what are now called alta capellas or wind ensembles. It is not to be confused with the modern cornet. The sound of the cornett is produced by lip vibrations against a cup mouthpiece, similar to modern brass instruments. A cornett consists of a conical wooden pipe covered in leather, is about long, and has finger holes and a small horn, ivory, or bone mouthpiece. The range is from A3 to A5, however the bottom note can be lipped as far as G3 and a good player can get up to E6. Construction The ordinary treble cornett is made by splitting a length of wood and gouging out the two halves to make the gently conical, curved bore. The halves are then glued together, and the outside planed to an octagonal cross section, the whole being bound in thin black leather. Six front finger holes and a thumb hole on the back (like on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass Cornett
The cornett, cornetto, or zink is an early wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. It was used in what are now called alta capellas or wind ensembles. It is not to be confused with the modern cornet. The sound of the cornett is produced by lip vibrations against a cup mouthpiece, similar to modern brass instruments. A cornett consists of a conical wooden pipe covered in leather, is about long, and has finger holes and a small horn, ivory, or bone mouthpiece. The range is from A3 to A5, however the bottom note can be lipped as far as G3 and a good player can get up to E6. Construction The ordinary treble cornett is made by splitting a length of wood and gouging out the two halves to make the gently conical, curved bore. The halves are then glued together, and the outside planed to an octagonal cross section, the whole being bound in thin black leather. Six front finger holes and a thumb hole on the back (like o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mute Cornett
The mute cornett was an important variant of the treble cornett and it was used in compositions by European composers in the 16th, 17th and 18th centuries. A significant number of mute cornetts have survived and are preserved in various European museums. Modern makers of cornetts produce mute cornetts and the numbers of recordings of music featuring this instrument has increased in recent years. Construction Unlike the regular curved cornett, cornettino and tenor cornett, the mute cornett is made from a single piece of wood that has been turned on a lathe, bored out and given finger holes. The non-detachable mouthpiece forms a smooth cup shape at the top. The cross section of the mouthpiece shows that it is similar in structure to that of a French horn. It eliminates the slight brassiness of the regular cornett and imparts the characteristic timbre associated with the instrument. Unlike other forms of cornett, mute cornetts were not covered in leather. History Like all corn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor Cornett
The tenor cornett or lizard was a common musical instrument in the Renaissance and Baroque periods. This instrument was normally built in C and the pedal (lowest) note of the majority of tenor cornetts was the C below middle C. A number of surviving instruments feature a key to secure the lowest note. The instrument has a useful range of approximately two and a half octaves, however, an experienced player with a strong embouchure may be able to push the instrument higher. The tenor cornett was used by composers like Giovanni Gabrieli, Heinrich Schütz and Orlando di Lasso as an alto or tenor voice in an ensemble of cornetts and trombones. Like most specimens of treble cornetts, tenor cornetts were usually pitched in ' or ''Cornettton'', ca. a' = 466 Hz – around a semi-tone higher than modern concert pitch, which is a' = 440 Hz. Nomenclature The tenor cornett was also known as the ''lyzard'', ''lizarden,'' ''lysarden'' or ''lyzarden'', because of the "S" shape of the instrument. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cornettino
The cornettino (plural cornettini) is the descant instrument of the cornetto family. Cornettini usually have a primary scale of C or D major, with middle C or the adjacent D the pedal note of the instrument. The regular cornett is the 'treble' instrument of the family. Construction Like the cornetto, the cornettino was originally made from two pieces of wood, carved out and glued together. The instrument was covered in leather or parchment to prevent leaks and improve the grip for the player. Some instruments were made from ivory and these instruments were, accordingly, not covered in leather. The mouthpieces were made from animal horn, bone or ivory. Some instruments featured metal mountings at one or both ends of the instrument; these mountings help prevent the fraying of the leather or parchment and were decorative. Silver and gold were used for these mountings. Some modern instruments are made from a plastic such as ABS resin. History Cornettini were common in the high R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sackbut
The term sackbut refers to the early forms of the trombone commonly used during the Renaissance music, Renaissance and Baroque music, Baroque eras. A sackbut has the characteristic telescopic slide of a trombone, used to vary the length of the tube to change Pitch (music), pitch, but is distinct from later trombones by its smaller, more cylindrically-proportioned bore (wind instruments), bore, and its less-flared bell (wind instrument), bell. Unlike the earlier slide trumpet from which it evolved, the sackbut possesses a U-shaped slide with two parallel sliding tubes, rather than just one. Records of the term ''trombone'' predate the term ''sackbut'' by two decades, and evidence for the German term ''Posaune'' is even older.Timeline of trombone history (15th century) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cornet
The cornet (, ) is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B, though there is also a soprano cornet in E and cornets in A and C. All are unrelated to the Renaissance and early Baroque cornett. History The cornet was derived from the posthorn by applying rotary valves to it in the 1820s, in France. However, by the 1830s, Parisian makers were using piston valves. Cornets first appeared as separate instrumental parts in 19th-century French compositions.''Encyclopædia Britannica'', Micropedia, Volume III, William Benton, Chicago Illinois, 1974, p. 156 The instrument could not have been developed without the improvement of piston valves by Silesian horn players Friedrich Blühmel (or Blümel) and Heinrich Stölzel, in the early 19th century. These two instrument makers almost simultaneously invented valves, though it is likely th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cornets à Bouquin1
The cornet (, ) is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B, though there is also a soprano cornet in E and cornets in A and C. All are unrelated to the Renaissance and early Baroque cornett. History The cornet was derived from the posthorn by applying rotary valves to it in the 1820s, in France. However, by the 1830s, Parisian makers were using piston valves. Cornets first appeared as separate instrumental parts in 19th-century French compositions.''Encyclopædia Britannica'', Micropedia, Volume III, William Benton, Chicago Illinois, 1974, p. 156 The instrument could not have been developed without the improvement of piston valves by Silesian horn players Friedrich Blühmel (or Blümel) and Heinrich Stölzel, in the early 19th century. These two instrument makers almost simultaneously invented valves, though it is likely tha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Serpent (instrument)
The serpent is a low-pitched early brass instrument developed in the Renaissance era with a trombone-like mouthpiece and tone holes (later with keys) like a woodwind instrument. It is named for its long, conical bore bent into a snakelike shape, and unlike most brass instruments is generally made from wood, usually walnut, and covered with dark brown or black leather. A distant ancestor of the tuba, the serpent is related to the cornett and was used for bass parts from the 17th to the early 19th centuries. Characteristics Although closely related to the cornett, the serpent has thinner walls, a more conical bore, and no thumb-hole. The serpent is typically built in eight-foot C with six fingerholes, in two groups of three. Early serpents were keyless, while later instruments added keys for additional holes out of reach of the fingers, to improve intonation and extend range. There is no real standard for the serpent's range, which varies according to the instrument and the playe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano Trombone
The soprano trombone (sometimes called a slide trumpet, especially in jazz) is the soprano instrument in the trombone family of brass instruments. It is usually pitched in B an octave above the tenor trombone, and has a bore, bell and mouthpiece similar to the B trumpet. Although modern instruments are made, the soprano remains a rare trombone seldom written for, compared to the tenor, bass, or even the uncommon alto trombone. History Whether the soprano trombone was ever widely used in history is still a matter for debate. The earliest surviving instrument was made in 1677, held by the Kremsegg musical instrument museum. Johann Sebastian Bach composed three cantatas (BWV 2, 21 & 38) around 1723, where four trombones are required; the highest part was written in soprano clef, for a (). The soprano trombone was used in German-speaking countries to play the treble part in chorales, and this tradition survives in the trombone choirs of Moravian Church music. Outside of thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orfeo Ed Euridice
' (; French: '; English: ''Orpheus and Eurydice'') is an opera composed by Christoph Willibald Gluck, based on Orpheus, the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the ''azione teatrale'', meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. ''Orfeo ed Euridice'' is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of ''opera seria'' with a "noble simplicity" in both the music and the drama. The opera is the most popular of Gluck's works, and was one of the most influential on subsequent Opera in German, German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Wolfgang Amadeus Mozart, Mozart's ''The Magic Flute'', Ludwig van Beethoven, Beetho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
O Jesu Christ, Meins Lebens Licht, BWV 118
''O Jesu Christ, meins Lebens Licht'' (O Jesus Christ, light of my life), BWV 118, is a sacred motet composed by Johann Sebastian Bach. It is known to have been performed at a funeral, and was possibly a generic work intended for funerals.(accessed via Highbeam Research, subscription required) When the work was first published in the nineteenth century it was called a cantata, perhaps because it has an instrumental accompaniment. While it is not an a cappella work, modern scholarship accepts it is a motet. History and text This work was written around 1736 or 1737, and so may have been premiered before the first known performance at the grave-side ceremony for Count on October 11, 1740. The Count was Governor of Leipzig and known to Bach who had presented a couple of congratulatory works to him. The fact that the accompaniment exists in two versions suggests that there was a subsequent revival of the work in the 1740s. The text is a 1610 hymn by Martin Behm. Music "O Je ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Bassano
Giovanni Bassano (c. 1561 – 3 September 1617) was an Italian composer associated with the Venetian School of composers and a cornettist of the late Renaissance and early Baroque eras. He was a key figure in the development of the instrumental ensemble at the basilica of San Marco di Venezia (St. Mark). His detailed book on instrumental ornamentation has survived. It is a rich resource for research in contemporary performance practice.Arnold/Ferraccioli, Grove online Bassano was most responsible for the performance of the music of Giovanni Gabrieli, who would emerge as one of the most renowned members of the Venetian School. Life Giovanni was likely born in Venice, Republic of Venice, around 1560 or 1561 in the parish of San Maurizio. He was the son of Santo Griti da Sebenico (now Šibenik, Croatia) and Orsetta Bassano. Orsetta's father Jacomo Bassano was the only brother of the six sons of Jeronimo Bassano who did not move permanently to London from Venice around 1540 as part of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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