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Tenoroon
The tenor bassoon or tenoroon is a member of the bassoon family of double reed woodwind instruments. Similar to the alto bassoon, also called octave bassoon, it is relatively rare. Nomenclature Many debates have been had on the nomenclature of the smaller bassoons. All small bassoons have at one time or another been called fagottino (pl. fagottini), but this term is historically usually only applied to the octave bassoon. The terms quart-bassoon (''Quartfagott'') and quint-bassoon (''Quintfagott'') are applied respectively to the instruments pitched a fourth above and a fifth above the normal bassoon. To add to the confusion, these terms can also be applied to instruments a fifth lower (quint-bassoon in F) and a fourth lower (quart-bassoon in G) known as semi-contrabassoons. Note that the keys of the lower and higher versions are reversed. Often the terms bass and tenor or high are added to clarify which instrument one is talking about, e.g. quart-bass bassoon or high quint-basso ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Victor Bruns
Victor Bruns (russian: Виктор Брунс; 15 August 1904 – 6 December 1996) was a German composer and bassoonist. He played with the Leningrad Opera, the Volksoper Berlin and the Staatskapelle Berlin. As a composer, he is known for his ballets and for bassoon concertos and sonatas. Career Victor Bruns was born to German parents in their summer house in Ollila near St Petersburg in an area then part of the Russian Empire. He attended a German school where he received his first piano lessons. After brief studies of science at the Technical University, he studied at the Petrograd State Conservatory (later the Leningrad State Conservatory). Here he studied the bassoon with Alexander Vasilyev from 1924 to 1927 and composition with Vladimir Shcherbakov from 1927 to 1931. He graduated with his first Bassoon Concerto, Op. 5, which he premiered in 1933 with the Leningrad Philharmonic. From 1927 to 1938, he was second bassoonist at the Leningrad Opera. When he was exp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrabassoon
The contrabassoon, also known as the double bassoon, is a larger version of the bassoon, sounding an octave lower. Its technique is similar to its smaller cousin, with a few notable differences. Differences from the bassoon The reed is considerably larger than the bassoon's, at in total length (and in width) compared with for most bassoon reeds. The large blades allow ample vibration that produces the low register of the instrument. The contrabassoon reed is similar to an average bassoon's in that scraping the reed affects both the intonation and response of the instrument. Contrabassoons feature a slightly simplified version of bassoon keywork, though all open toneholes on bassoon have necessarily been replaced with keys and pads due to the physical distances. In the lower register, its fingerings are nearly identical to bassoon. However, the octave mechanism used to play in the middle register works differently than on bassoon, and the upper register fingerings are of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semi-contrabassoon
The semi-contrabassoon (also called quint bassoon, semi-contra or half-contra) is a double reed woodwind instrument pitched between the bassoon and the contrabassoon. It is pitched in either F (quint bass) or G (quart bass) a fifth or fourth, respectively, below the bassoon. These instruments were used mostly in the 18th century and are remnants of the old quart bass dulcians. They were considered easier to make than the larger contrabassoon. A semi-contrabassoon was shaped like an oversized bassoon, between tall with a long descending bocal. Little literature exists that indicate that these instruments were used, although it is possible that they may have been used to some extent in military bands. No attempt to revive this instrument in the present day has been made. The great organist Charles Marie Widor in his book on orchestration expected that the semi-contra would be added to the orchestra's roster. No instruments were ever constructed on his instigation. Widor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semi-contrabassoon
The semi-contrabassoon (also called quint bassoon, semi-contra or half-contra) is a double reed woodwind instrument pitched between the bassoon and the contrabassoon. It is pitched in either F (quint bass) or G (quart bass) a fifth or fourth, respectively, below the bassoon. These instruments were used mostly in the 18th century and are remnants of the old quart bass dulcians. They were considered easier to make than the larger contrabassoon. A semi-contrabassoon was shaped like an oversized bassoon, between tall with a long descending bocal. Little literature exists that indicate that these instruments were used, although it is possible that they may have been used to some extent in military bands. No attempt to revive this instrument in the present day has been made. The great organist Charles Marie Widor in his book on orchestration expected that the semi-contra would be added to the orchestra's roster. No instruments were ever constructed on his instigation. Widor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contraforte
The contraforte (german: Kontraforte) is a proprietary instrument with a range similar to the contrabassoon produced by Benedikt Eppelsheim and Guntram Wolf. It is intended to have improved dynamics and intonation over the distinctive but sometimes reticent sound of the conventional contrabassoon. The contraforte uses a different and wider bore than the contrabassoon to produce a distinct tone; the sound is more even in strength and intonation across registers, remaining quite strong into the high register, unlike a contrabassoon. It also lacks the distinct "rattle" of a contrabassoon, although appropriate reed design can replicate this effect where desired. Wolf and Eppelsheim developed an accurate bore taper and precise keyworks in order to simplify fingerings in spite of the instrument's large size. In October 2010 Lewis Lipnick, contrabassoonist for the National Symphony Orchestra in Washington, DC, played it in a performance of Beethoven's Symphony No. 9. According to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bassoon
The bassoon is a woodwind instrument in the double reed family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuosity. It is a non-transposing instrument and typically its music is written in the bass and tenor clefs, and sometimes in the treble. There are two forms of modern bassoon: the Buffet (or French) and Heckel (or German) systems. It is typically played while sitting using a seat strap, but can be played while standing if the player has a harness to hold the instrument. Sound is produced by rolling both lips over the reed and blowing direct air pressure to cause the reed to vibrate. Its fingering system can be quite complex when compared to those of other instruments. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band, and chamber music literature, and is occasionally heard in pop, roc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bassoon
The bassoon is a woodwind instrument in the double reed family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuosity. It is a non-transposing instrument and typically its music is written in the bass and tenor clefs, and sometimes in the treble. There are two forms of modern bassoon: the Buffet (or French) and Heckel (or German) systems. It is typically played while sitting using a seat strap, but can be played while standing if the player has a harness to hold the instrument. Sound is produced by rolling both lips over the reed and blowing direct air pressure to cause the reed to vibrate. Its fingering system can be quite complex when compared to those of other instruments. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band, and chamber music literature, and is occasionally heard in pop, roc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zachau
Friedrich Wilhelm Zachow or Zachau (14 November 1663, Leipzig – 7 August 1712, Halle) was a German musician and composer of vocal and keyboard music. Life Zachow probably received his training from his father, the piper Heinrich Zachow, one of Leipzig's town musicians in the Alta capella, and maybe from Johann Schelle, a leading German composer, when the family moved to Eilenburg. As Kantor and organist of Halle's Market Church in 1684 he succeeded Samuel Ebart. During his time at Halle he became particularly renowned as a composer of dramatic cantatas. In 1695 he was criticized by the pietists because of his excessive long and elaborate music, that could be only appreciated by cantors and organists. Zachow was influenced by Johann Theile in Merseburg and the poetry of Erdmann Neumeister, pastor in the nearby Weissenfels, and his criticism on pietism. Zachow was the teacher of Gottfried Kirchhoff, Johann Philipp Krieger and Johann Gotthilf Ziegler, but is best re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
English Horn
The cor anglais (, or original ; plural: ''cors anglais''), or English horn in 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. Description and timbre The pear-shaped bell (called Liebesfuß) of the cor anglais gives it a more covered timbre than the oboe, closer in tonal quality to the oboe d'a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sarrusophone
The sarrusophones are a family of metal double reed conical bore woodwind instruments patented and first manufactured by Pierre-Louis Gautrot in 1856. Gautrot named the sarrusophone after French bandmaster Pierre-Auguste Sarrus (1813–1876), whom he credited with the concept of the instrument, though it is not clear whether Sarrus benefited financially. The instruments were intended for military bands, to serve as replacements for oboes and bassoons which at the time lacked the carrying power required for outdoor marching music. Although originally designed as double-reed instruments, single-reed mouthpieces were later developed that could be used for the larger bass and contrabass sarrusophones. Sizes and ranges The sarrusophone was manufactured in the following sizes and had the following theoretical ranges: * E-flat Sopranino B♭-G (Sounding D♭-B♭) * B-flat Soprano B♭-G (Sounding A♭-F) * E-flat Alto G-G (Sounding B♭-B♭) * B-flat Tenor B♭-G (Sounding A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantata
A cantata (; ; literally "sung", past participle feminine singular of the Italian verb ''cantare'', "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of the term changed over time, from the simple single-voice madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio. Cantatas for use in the liturgy of church services are called church cantata or sacred cantata; other cantatas can be indicated as secular cantatas. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas. Christoph Graupner, Georg Philipp Telemann and Johann Sebastian Bach composed cycles of church cantatas for the occasions of the liturgical year. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Partita
Partita (also ''partie'', ''partia'', ''parthia'', or ''parthie'') was originally the name for a single-instrumental piece of music (16th and 17th centuries), but Johann Kuhnau (Thomaskantor until 1722), his student Christoph Graupner, and Johann Sebastian Bach used it for collections of musical pieces, as a synonym for suite. Johann Sebastian Bach wrote two sets of partitas for different instruments. Those for solo keyboard the composer published as his Opus 1 (known as the Klavierübung I). One additional suite in B minor, the '' Overture in the French Style'' (often simply called ''French Overture'') is sometimes also considered a partita. See ''Partitas'' for keyboard (825–830) and choral partitas for organ. The "Partita" in A minor for solo flute (BWV 1013) which takes the form of a suite of four dances, has been given the title "partita" by its modern editors; it is sometimes transposed for oboe. Bach also wrote three partitas for solo violin in 1720 which he paired wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
