Abstract
The music of the Revolution paid special heed to wind instruments, not least because the new Conservatoire was created in part to supply performers for festivals. Parts for serpent and trombone were developed in various ensemble contexts; new clarinet choirs were heard in wind ensembles, and high clarinets sometimes migrated to opera orchestras. Clarinets in different keys were used, having discrete timbral properties, and a table describes the incidence of various types relative to the tonality found in 956 movements in 84 operas given in Paris between 1768 and 1795. The article concludes with brief consideration of new 'gestures' discovered for wind instruments, including the placing of instruments within discords. An engraving entitled 'Le culte naturel' shows a secularized church ceremony featuring voices accompanied by harp and horn.
| Translated title of the contribution | Wind instruments: Sounds and gestures |
|---|---|
| Original language | French |
| Title of host publication | Le Tambour et la harpe |
| Subtitle of host publication | Oeuvres, pratiques et manifestations musicales sous la Révolution, 1788-1800 |
| Editors | Jean-Rémy Julien, Jean Mongrédien |
| Place of Publication | Paris |
| Publisher | Éditions Du May |
| Pages | 209-20 |
| Number of pages | 12 |
| ISBN (Print) | 2906450480 |
| Publication status | Published - 1991 |
Keywords
- France, Revolution,music, wind instruments