Appraisals of Original Wind Music: A Survey and Guide

Appraisals of Original Wind Music: A Survey and Guide

Appraisals of Original Wind Music: A Survey and Guide

Appraisals of Original Wind Music: A Survey and Guide


This annotated survey identifies and evaluates the published literature of chamber and concertante music originally conceived for wind instruments. Entries, arranged by instrument, are organized chronologically by genre to highlight the historical development of the works. Genres include single melody instrument with accompaniment, homogeneous groups, larger groupings with and without accompaniment, with and without other non-wind instruments, concertante works, and vocal music with wind instruments. Titles contain catalogue detail and current publisher's edition number.


The need for a wind music survey . Singers, pianists and string players have no need to search for their repertoire: the scores are in everyone's cabinet and familiar to all who enjoy listening to fine music. Schubert and Schumann song cycles, the 32 piano sonatas of Beethoven, Bach's '48', the sets of Haydn quartets -- these are our ideal desert island companions into which their composers poured their most profound thoughts. In comparison, acknowledged landmarks of the wind repertoire are few: a rather unexplored territory whose delights are discreet and assessments of it not easily located.

This survey attempts to identify, and if possible evaluate, the mass of performance materials in the field of chamber music designed to include wind instruments and of larger-scale works which feature a part for a concertante wind instrument. Titles are grouped in performance categories in chronological sequence using a star grading system suggesting priorities, with three stars allotted to essential materials which could form a foundation collection of music scores and parts, followed by other pieces worthy of consideration with suggestions as to order of possible choice.

The book, which has as its basis recommendations gathered from varied sources, attempts to present the enquirer with a convenient guide through the labyrinth of music publishers' catalogues and repertoire lists which show a bewildering array of titles. Recommendations stem from reviews in music periodicals (many from The Musical Times, with those by the perceptive Niall O'Loughlin much in evidence), from various types of musical literature including monographs on composers and on instruments by experienced wind virtuosi who have commented on the riches encountered in their own repertoires, and my own personal impressions. Included among these varied sources (listed in the Bibliography with citations in the Notes) are the forthright and pithy comments provided by Mary Rasmussen in her Teachers' wind music guides (1968) while in allusions to 'accompanied' repertoire much reference is made to the helpful comments in The Piano in chamber music byMaurice Hinson (1978).

My aim has been, a) to draw attention to significant repertoire in each . . .

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