Baroque wind instruments : a guide to their history, repertoire and basic technique

196 Pages·1999·13.085 MB·English

by  Carroll, Paul

BAROQUE WOODWIND INSTRUMENTS
For Helen
Baroque Woodwind
Instruments
A guide to their history,
repertoire and basic technique
PAUL CARROLL
I
LONDON AND NEW YORK
First published 1999 by Ashgate Publishing
Published 20 16 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright© 1999 Paul Carroll
The author has asserted his right under the Copyright, Designs and Patents Act, 1988, to
be identified as the author of this work.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only
for identification and explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
Carroll, Paul
Baroque wind instruments : a guide to their history, repertoire and basic
technique
1. Woodwind instruments - History - 17th century 2. Woodwind instruments
- Methods 3. Music - 17th century 4. Music - 18th century
I. Title
788.2'09'032
Library of Congress Cataloguing-in-Publication data
Carroll, Paul
Baroque woodwind instruments : a guide to their history, repertoire and
basic technique I Paul Carroll.
Includes bibliographical references and index.
1. Woodwind instruments 2. Performance practice (Music - 17th century.
3. Performance practice (Music) - 18th century. I. Title.
ML931.C37 1999
788.1'09'032 ---d c21 98-45856
CIP
Transferred to Digital Printing 2014 MN
ISBN 9781859283264 (hbk)
ISBN 9781138267497 (pbk)
Contents
Acknowledgements
VII
Abbreviations and notation method
IX
List of illustrations
X
Introduction 1
Choosing an instrument 3
Performing material 5
Style and ornamentation - an overview 10
Notes 10
Sources 11
1 The bassoon 13
The repertoire of the baroque bassoon 22
Buying a bassoon 30
Playing the bassoon 34
Basic instrument maintenance 39
Recommended reading 42
Sources 42
Recommended music for beginners 43
2 The flute 45
The repertoire of the baroque flute 55
Buying a flute 74
Playing the baroque flute 74
Care of the flute 78
Notes 84
Recommended reading 85
Sources 86
Recommended music for beginners 86
3 The oboe 87
The baroque oboe 87
A brief history 87
v
vi Contents
The repertoire of the baroque oboe 96
Buying an oboe 110
Playing the oboe 113
Care of the instrument and common problems 114
Notes 115
Recommended further reading 115
Sources 116
Recommended music for beginners 116
4 The recorder 117
The repertoire of the baroque recorder 121
Buying a recorder 138
Care of the recorder 140
Playing the recorder 142
Recommended further reading 145
Sources 145
Recommended music for beginners 145
Appendix I The chalumeau and baroque clarinet 147
Appendix II The preparation of performing material from
original sources - an introduction 149
Appendix III Fingering charts 153
Bibliography 159
Directory of makers, shops and suppliers 166
Index 175
Acknowledgements
I first thought of writing a book about baroque woodwind instruments while on
a long walk on Box Hill late one summer afternoon with Dr David Jones of
Christ's College, Cambridge; between rehearsals for Susi Jeans' Box Hill Festival
we discussed the possibility of a joint effort. However, many years were to pass
before I was asked by Ashgate to write such a book.
Many people help form an author's thoughts and direction, and in the case of
a musician who turns his or her hand to writing, the list of influential people is
often very long. First I thank my parents, Michael and Doreen, and sister Tracey
Anne whose love and encouragement helped me to become a musician. I owe so
much to my early teachers who encouraged me, especially Michael Frohnsdorf
who cultivated my love of Vivaldi. I was fortunate to study at the local council
run music school, The Newham Academy of Music, which enabled me to learn
the bassoon, recorder, piano and harpsichord. My special thanks go to Edward
Parker whose care and teaching helped my development at Newham, and to the
many long-suffering local musicians who played in the town's symphony
orchestra and who would often perform a Vivaldi-style concerto that I had
hastily written on a Sunday, the following Monday evening. Mention has to be
made of my longest-standing friend, Stephen Rinker, whose attempts to draw me
away from the eighteenth century over the years has succeeded in part. His
persistence has provided me with new perspectives both musical and
philosophical.
I should like to thank my teachers at the Royal College of Music: Geoffrey
Gambold, Phillip Cannon, Kerry Camden, John Francis and Millicent Silver.
David Ward, the pianist and conductor, taught me a huge amount about music
and about life and I will forever be in his debt for the care, friendship and support
that he gave so freely.
It was not until I was in my mid-twenties that I met Gerrard McDonald who
encouraged me to take up a number of baroque woodwind instruments, in
addition to the baroque bassoon which I had already discovered. Gerrard was a
great source of inspiration for many years and I will always be grateful to him
for his help and friendship. Gerrard is one of a number of people who kindly read
portions of this book and provided helpful suggestions on its improvement.
Anthony Robson read and commented on the chapter on the baroque oboe; Dr
David Rowland also made many useful suggestions. David has contributed much
to my perception of music and I am most grateful to him for his kindness and
friendship.
I would especially like to thank Sally Civval for her support during the writing
vii
viii Acknowledgements
of this book, as much of the work with which we are jointly involved, specifically
with our company Music Management, fell on her shoulders during the book's
preparation. I must express my thanks to Beryl Civval for her support and
kindness over the years, and especially to the late Norman Civval who influenced
my life greatly.
I am extremely grateful to Konstanze Merkel for her help in translating
sections of Quantz from German into English, often at extremely short notice,
and to Jonathan Askey of the Early Music Shop in Bradford for providing
photographs of instruments. Dr Janet Ritterman, Director of The Royal College
of Music, and Dr Jeremy Cox, Dean and Deputy Director, have both given
support and I would like to express my gratitude to the College for its kind
financial assistance towards research for this book.
At Ashgate Publishing I would like to thank Agneta Munktell and especially
Rachel Lynch who has been a great support during the creation of this book.
Of the many musicians who have influenced me over the years and who I have
had the honour to play with I would like to thank Johannes Boer, Petronella
Dittmer, Gwilym Hooson, Davitt Moroney, Ubaldo Rossi and Roderick
Skeaping.
Finally I should like to thank Helen, my beloved wife, to whom this book is
dedicated. Her tolerance of the disruption to our home during the book's
preparation was unlimited and she provided invaluable help in proofreading the
text. Most of all I would like to thank her for her love and support which she has
always given without reservation.
Bayswater, London 1999
Abbreviations and notation
method
CUP Cambridge University Press
EM Early Music magazine
Grove Sadie, S. (ed.) (1980), The New Grove Dictionary of Music and
Musicians, London: Macmillan
GSJ Galpin Society Journal
IUP Indiana University Press
JAMIS Journal of the American Musical Instrument Association
NEMA National Early Music Association
OUP Oxford University Press
STIMU Foundation for historical performance practice, Utrecht
UNP University of Nebraska Press
URP University of Rochester Press
Notation
For convenience, the following method has been adopted:
c. B, c B c b <".' b' c" b"
~
~: ; IJ ~ I z~ ~ il; r I ~· II
J
etc.
IX