2 volsAvailable from British Library Lending Division - LD:D55778/85 / BLDSC - British Library Do... more 2 volsAvailable from British Library Lending Division - LD:D55778/85 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo
most famous waltzes of the era, these are all carefully crafted works that show how the waltz phe... more most famous waltzes of the era, these are all carefully crafted works that show how the waltz phenomenon evolved outside of Vienna. The most substantial pieces on the album are two of Fučík’s concert overtures: Marinarella (1908) and Miramare (1912). The former is a lively and colourful overture in the vein of Franz von Suppé for an operetta that never materialized, while the latter is a programmatic work about Trieste’s Castle of Miramare that blends an extroverted Italian style with echoes of Dvořák and Smetana. Järvi’s performances of these longer works are generally good; the ensemble is fully committed, andWinterstürme and Marinarella, in particular, receive sympathetic and compelling interpretations. Unfortunately, the orchestra’s lack of a tradition in this repertoire quickly becomes apparent, with the result that many of these tracks come across as highly polished run-throughs. Despite this shortcoming, this is the finest collection of Fučík’s music currently available. While Neumann’s recorded legacy will remain a necessary stylistic counterbalance, Järvi’s set offers an excellent and accessible starting point for anyone with an interest in the popular culture of turn-of-thecentury Austria-Hungary beyond the Strauss family.
The purpose of this book is to help readers understand brass instruments-the instruments themselv... more The purpose of this book is to help readers understand brass instruments-the instruments themselves as material objects, their players and the techniques they use, and the role of brass instruments in cultures and contexts in various parts of the world and historical periods. All such instruments fall into the class or category of instruments known as 'labrosones' , in which sound is initiated by the vibration of the player's lips (see Labrosones and Classification of brass instruments). 1 So the class is defined not by the material of which the instrument is made, but by the process by which sound is generated. This descriptor is helpful as well as technically necessary because brass is just one of the materials from which instruments of the class have been made. For example, the first labrosones were made from natural objects such as animal tusks and horns, the sixteenth-century cornett (see Cornett) was constructed from wood and bound with leather, and in modern times, composites such as plastics have also been used extensively for the manufacture of lip-vibrated instruments. However, it is also important to make the obvious point that 'brass instruments' is the favoured term for this family of instruments because most, especially in Western culture, have actually been made of brass or some other metal. Furthermore, 'brass instruments' is the phrase in common use and it has stuck through custom and practice; for this reason and to side-step unnecessary pedantry it is used throughout this book as well as in its title. It is likely that no class of melodic instruments has had a longer ancestry or has had a greater variety of musical and social purposes. Many examples of manufactured brass instruments survive from the ancient world, and a yet more abundant collection of images exists that hint with varying degrees of clarity at their cultural and social roles (see Antiquity). There is evidence of them in some form or other in almost every inhabited area of the world, and to the extent that we are able to tell, while there are usually distinctive local flavours, there are also some remarkable similarities that stretch across cultures. For example, wherever trumpets or trumpet-like instruments have been found, they appear to have been associated with expressions of secular or sacred power, and it is probably no accident that in English the word 'trumpet' (as in 'to trumpet') functions as a verb to denote a confident aspect of human behaviour. All instruments of the class are essentially tubular, with a mouthpiece or opening at one end shaped so that the player's lips can be comfortably placed (usually but not always at the very tip of that end). 2 When blown through, the lips vibrate and the resultant periodic flow of air excites the vibration of an air column inside the instrument: the vibrating air in turn interacts with the player's lips, influencing their movement. The tube terminates in an opening to the ambient air, often with a marked expansion of the tube (known as the bell), that enables some of the internal sound energy to be radiated and heard (see Acoustics). With seashells, animal horns and tusks, much of the tube 1 The word 'labrosones' was invented by the organologist Anthony Baines and first used in his book Brass Instruments: Their History and Development (1976b). On its first appearance he described it briefly in parenthesis as 'a handy term for lip-vibrated instruments' (1976b: 40). 2 The distinction is necessary because while most brass instruments are blown through the very end of the tubing (end-blown instruments), a smaller proportion of vernacular instruments are blown from a point on the side of their sounding length (side-blown instruments).
2 volsAvailable from British Library Lending Division - LD:D55778/85 / BLDSC - British Library Do... more 2 volsAvailable from British Library Lending Division - LD:D55778/85 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo
most famous waltzes of the era, these are all carefully crafted works that show how the waltz phe... more most famous waltzes of the era, these are all carefully crafted works that show how the waltz phenomenon evolved outside of Vienna. The most substantial pieces on the album are two of Fučík’s concert overtures: Marinarella (1908) and Miramare (1912). The former is a lively and colourful overture in the vein of Franz von Suppé for an operetta that never materialized, while the latter is a programmatic work about Trieste’s Castle of Miramare that blends an extroverted Italian style with echoes of Dvořák and Smetana. Järvi’s performances of these longer works are generally good; the ensemble is fully committed, andWinterstürme and Marinarella, in particular, receive sympathetic and compelling interpretations. Unfortunately, the orchestra’s lack of a tradition in this repertoire quickly becomes apparent, with the result that many of these tracks come across as highly polished run-throughs. Despite this shortcoming, this is the finest collection of Fučík’s music currently available. While Neumann’s recorded legacy will remain a necessary stylistic counterbalance, Järvi’s set offers an excellent and accessible starting point for anyone with an interest in the popular culture of turn-of-thecentury Austria-Hungary beyond the Strauss family.
The purpose of this book is to help readers understand brass instruments-the instruments themselv... more The purpose of this book is to help readers understand brass instruments-the instruments themselves as material objects, their players and the techniques they use, and the role of brass instruments in cultures and contexts in various parts of the world and historical periods. All such instruments fall into the class or category of instruments known as 'labrosones' , in which sound is initiated by the vibration of the player's lips (see Labrosones and Classification of brass instruments). 1 So the class is defined not by the material of which the instrument is made, but by the process by which sound is generated. This descriptor is helpful as well as technically necessary because brass is just one of the materials from which instruments of the class have been made. For example, the first labrosones were made from natural objects such as animal tusks and horns, the sixteenth-century cornett (see Cornett) was constructed from wood and bound with leather, and in modern times, composites such as plastics have also been used extensively for the manufacture of lip-vibrated instruments. However, it is also important to make the obvious point that 'brass instruments' is the favoured term for this family of instruments because most, especially in Western culture, have actually been made of brass or some other metal. Furthermore, 'brass instruments' is the phrase in common use and it has stuck through custom and practice; for this reason and to side-step unnecessary pedantry it is used throughout this book as well as in its title. It is likely that no class of melodic instruments has had a longer ancestry or has had a greater variety of musical and social purposes. Many examples of manufactured brass instruments survive from the ancient world, and a yet more abundant collection of images exists that hint with varying degrees of clarity at their cultural and social roles (see Antiquity). There is evidence of them in some form or other in almost every inhabited area of the world, and to the extent that we are able to tell, while there are usually distinctive local flavours, there are also some remarkable similarities that stretch across cultures. For example, wherever trumpets or trumpet-like instruments have been found, they appear to have been associated with expressions of secular or sacred power, and it is probably no accident that in English the word 'trumpet' (as in 'to trumpet') functions as a verb to denote a confident aspect of human behaviour. All instruments of the class are essentially tubular, with a mouthpiece or opening at one end shaped so that the player's lips can be comfortably placed (usually but not always at the very tip of that end). 2 When blown through, the lips vibrate and the resultant periodic flow of air excites the vibration of an air column inside the instrument: the vibrating air in turn interacts with the player's lips, influencing their movement. The tube terminates in an opening to the ambient air, often with a marked expansion of the tube (known as the bell), that enables some of the internal sound energy to be radiated and heard (see Acoustics). With seashells, animal horns and tusks, much of the tube 1 The word 'labrosones' was invented by the organologist Anthony Baines and first used in his book Brass Instruments: Their History and Development (1976b). On its first appearance he described it briefly in parenthesis as 'a handy term for lip-vibrated instruments' (1976b: 40). 2 The distinction is necessary because while most brass instruments are blown through the very end of the tubing (end-blown instruments), a smaller proportion of vernacular instruments are blown from a point on the side of their sounding length (side-blown instruments).
Uploads
Papers by Trevor Herbert