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Timpani Tone and the Interpretation of Baroque and Classical Music [Anglais] [Broché]

Steven Schweizer

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Broché EUR 17,12  

Description de l'ouvrage

15 juillet 2010
Timpani Tone and the Interpretation of Baroque and Classical Music explores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts. In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music. Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: elements necessary to effectively communicate their part to listeners.

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Revue de presse

Ideally positioned to offer latter-day performers and scholars an up-to-date view of the developments in knowledge concerning 17th- and 18th-century music. The author is an accomplished timpanist, and the book takes advantage of technology to offer not only brief audio clips demonstrating the tone produced by various timpani techniques, but also 30 annotated timpani parts that detail Schweizers interpretation of select works or portions thereof... Generously illustrated and logically organized... readers will find up-to-date explanations of issues that, in most cases, have been central to timpani performance throughout history. (John Michael Cooper Early Music)

Biographie de l'auteur

Steven L. Schweizer has served as timpanist with the Topeka Symphony and Florence [S.C.] Symphony Orchestras. He is Associate Professor and Program Coordinator of the Political Science Department at Newberry College.

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Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Amazon.com: 5.0 étoiles sur 5  2 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Very Insightful! 15 mars 2012
Par Carlos C - Publié sur Amazon.com
Format:Broché|Achat vérifié
Very insightful. This book contains a lot of helpful and useful information rgarding the art of playing the kettlesdrums! I highly recommend it! One of the BEST books I have ever purchased for this topic.
0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Interesting book. 31 janvier 2012
Par M. Drumm - Publié sur Amazon.com
Format:Broché|Achat vérifié
I really enjoyed this book. There was a lot of information in the beginning about how sound is produced on timpani, which I found fascinating. He also has some interesting insights into the interpretation of the baroque and classical works included. My playing style is different from his, so some of his descriptions on certain strokes I didn't understand completely or disagreed with. In spite of that, it's a great book for any timpanist. I gave a copy to my timpani teacher in college and will probably recommend it to some of my students. I appreciated the website where complete parts to many of the pieces discussed in the text are available for download. I recommend this book to anyone who loves timpani.
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