Franz Tausch and the Development of Wind Playing in Germany, 1780-1817
- Submitting institution
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The University of Huddersfield
: A - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - Music
- Output identifier
- 27
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Multi-component: Journal Article and CD
- Open access status
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- Month
- -
- Year
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This is the first scholarly study of the clarinetist Franz Tausch. It offers a new perspective on the rapid development of wind instrument technique and repertoire c. 1780–1817 by viewing it in relation to the changing environment of court and municipal musical life instead of solely through the works of canonic composers. The CD demonstrates the development of instrumental capabilities and musical style through premiere recordings of Tausch’s Pieces en Quatuor Op. 22, and works by Johann Stamitz and Tausch’s students Heinrich Baermann and Bernhard Henrik Crusell. Worthington led specialist ensemble Boxwood and Brass in a practice-based investigation through performance and recording, using historical instruments and performance practices. Percival created new editions of the repertoire from early print sources and a new arrangement based on historical arranging practice. The disparate performance approaches necessitated by each work raised questions not addressed by existing scholarship: How did Tausch engage with radical developments in instrumental technique and musical style through his lifetime? Why are the Pieces en Quatuor significantly different in style from the rest of Tausch’s output and that of his contemporaries? These questions addressed in the journal article, through a survey of Tausch’s surviving works, extensive primary-source research into his activities, and analysis of the expressive and technical characteristics of selected compositions from the perspective of a specialist performer. The resulting account of Tausch’s life and environment prompts new conclusions about his playing and his engagement with Enlightenment culture, and demands a reconsideration of the composer-centric historiography of the clarinet. It establishes, for the first time, links between the instrument’s early history in Mannheim and the emergence of early-nineteenth-century virtuosi, and provides new evidence of amateur wind-playing among the Prussian nobility that challenges received notions of the status of wind music in the early-nineteenth century.
- Author contribution statement
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- Non-English
- No
- English abstract
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