Author: Sarah Anne Wildey
Publisher:
ISBN:
Category :
Languages : en
Pages : 150
Book Description
Mozart's Concerto for Bassoon, K. 191 has long been an important part of the Classical era bassoon repertory. Few composers of the Classical period wrote for the bassoon as a solo instrument, and even fewer still paired it with an orchestral backing. K. 191 not only is unique within the bassoon repertory, but also stands out in the compositional career of Mozart as being his first completed wind concerto, composed at the age of eighteen. Mozart did not write cadenzas for K. 191; therefore a large part of the performance itself is untouched by Mozart's hand. Depending on personal (or teacher) preference, the performer may write an original cadenza for the performance or use an existing cadenza written by a well-known bassoonist or composer. In either case, the cadenza is removed stylistically from Mozart and almost always removed from the Classical period. While there are many guides on how to write a cadenza in the Classical style, there are none specific to the bassoon and its capabilities, strengths, or weaknesses during this period. Also lacking is an informational resource that critiques cadenzas on how they adhere to or stray from Classical performance practice, and more specifically to the performance abilities of the bassoon. A document that analyzes the abilities of the Classical era bassoon would be a useful guide in an era where accurate performance practice is increasingly sought after, even expected, in live performance.
Historical Performance Practice in Cadenzas for Mozart's Concerto for Bassoon, K. 191 (186e)
A Study of the Classical Woodwind Cadenza and Methodology for the Composition of Cadenzas for the Mozart Bassoon Concerto in B Flat Major K191 (186e)
An In-depth Look at Mozart's Bassoon Concerto in B-flat, K. 191
Author: Andrew Johnson
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
Book Description
This creative project presents a look at the background of Mozart's Concerto for Bassoon and Orchestra in B-flat Major, K. 191, its form and ornamentation. The Concerto was written in 1774 and was believed to have been written for Thaddeus Von Durnitz. It was also written for a bassoon that is entirely different than the ones modern performers have become accustomed to, with less keywork and reeds that were designed entirely differently. The first movement of the work is a standard sonata allegro form, movement two is a condensed da capo aria form with two primary musical themes and the third movement is in a rondo form, which utilizes a repeated "rondo theme" to create cohesion and is broken up by episodes from the soloist. This paper details the different types of ornamentation throughout the piece. Included are performance suggestions on whether trills should be performed as "Upper-note" or "main-note" trills as well suggestions on how to treat the vorschlage markings. Musical context and the denomination of the markings are used to determine how to perform the ornaments.
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
Book Description
This creative project presents a look at the background of Mozart's Concerto for Bassoon and Orchestra in B-flat Major, K. 191, its form and ornamentation. The Concerto was written in 1774 and was believed to have been written for Thaddeus Von Durnitz. It was also written for a bassoon that is entirely different than the ones modern performers have become accustomed to, with less keywork and reeds that were designed entirely differently. The first movement of the work is a standard sonata allegro form, movement two is a condensed da capo aria form with two primary musical themes and the third movement is in a rondo form, which utilizes a repeated "rondo theme" to create cohesion and is broken up by episodes from the soloist. This paper details the different types of ornamentation throughout the piece. Included are performance suggestions on whether trills should be performed as "Upper-note" or "main-note" trills as well suggestions on how to treat the vorschlage markings. Musical context and the denomination of the markings are used to determine how to perform the ornaments.
A Collection and Study of the Published Cadenzas for Wolfgang Amadeus Mozart's Concerto in G Major for Flute and Orchestra, K. 313
Author: Sarah M. Gill
Publisher:
ISBN:
Category : Concertos (Flute)
Languages : en
Pages : 290
Book Description
Publisher:
ISBN:
Category : Concertos (Flute)
Languages : en
Pages : 290
Book Description
Concerto B Flat Major for Pianoforte and Orchestra
Cadenza for Mozart's Concerto No. 25 in C Major, K. 503
The British Catalogue of Music
Music
Author: Library of Congress. Copyright Office
Publisher:
ISBN:
Category : Copyright
Languages : en
Pages : 462
Book Description
Publisher:
ISBN:
Category : Copyright
Languages : en
Pages : 462
Book Description
Catalog of Copyright Entries, Third Series
Author: Library of Congress. Copyright Office
Publisher:
ISBN:
Category : Copyright
Languages : en
Pages : 1228
Book Description
Publisher:
ISBN:
Category : Copyright
Languages : en
Pages : 1228
Book Description
Catalogue of Title-entries of Books and Other Articles Entered in the Office of the Librarian of Congress, at Washington, Under the Copyright Law ... Wherein the Copyright Has Been Completed by the Deposit of Two Copies in the Office
Author: Library of Congress. Copyright Office
Publisher:
ISBN:
Category : American drama
Languages : en
Pages : 224
Book Description
Publisher:
ISBN:
Category : American drama
Languages : en
Pages : 224
Book Description