Dulcian
Dulzian , also Dulcian or Dolcian (from Latin dulcis "sweet"), is a woodwind instrument with a double reed that is blown directly and a conical bore.
Designations
Michael Praetorius called the instrument in Syntagma Musicum also as a bassoon .
"Bassoons and Dolcianas (Italis Fagotto & Dolcesouno) are mostly called more indifferently."
Friedrich Erhard Niedt wrote in 1710: "Dulcian: a German bassoon".
Sébastien de Brossard describes Dulcino as a “fourth fagotto” or a small “basson”.
Johann Gottfried Walther refers to Brossard in 1732:
“Dulcino, Dulcin and Dolce suono (Italian) Dulcisonans (Latin) commonly called Dulciana and Dulcian, is a wind instrument or small basson, which is also called a fourth bassoon, and comes with the French waists and fifth skin bois . "
Design
The dulcian was developed in the first half of the 16th century. He has worked with the Schalmei the conical bore and with Sordunen and Korth Olten jointly bent, parallel bore. Like many other instruments of the Renaissance, the dulcian was built in families from soprano to double bass . The smaller instruments in the family up to the bass were usually made from one piece of wood, the larger ones from two or three parts. With all Dulcians the reed is on a brass S-bend .
Michael Praetorius gives the following pitch ranges for the dulciane: chorus bassoon : C – d '(g'), fourth bassoon : GG – f (a), fifth bassoon : FF – b (d) bassoon piccolo : g – f '(g ).
Style of play
Michael Praetorius gives various examples of instrumentation in the Syntagma musicum . He recommends the use of the dulcian to reinforce the bass line in the figured bass :
“Is this particularly noticeable / When 2nd or 3rd voices are only in the general bass / because the organist / or lute player has to himself / and beats / is sung from it; That it is very good / almost necessary / read the same general bass with a bass instrument, as a bassoon / Dolcian or trombone / or / or which is the very best / with a bass violin /. "
For a low choir he gives an example for a pure dulcian ensemble ("bassoons choir"). For the line-up of a recorder choir , he recommends that the bass should not be played with a recorder, but with a trombone or a “bassoon”. In the instrumentation of a motet by Orlando di Lasso , he describes a five-part wind ensemble, consisting of two recorders, two trombones and a bassoon in the bass.
Composers of early solo literature include a. Bartolomeo de Selma y Salaverde , Philipp Friedrich Böddecker and Giulio Mussi . In the 17th century the small dulcian forms lost their importance. While the baroque bassoon was developed from the dulcian, the bass dulcian also remained in use for a while.
As a special case, different sizes of the dulcian were in use in Spain until the 19th century.
Textbooks
- Daniel Speer : Quadruple Musical Clover Leaf . Publishing house Georg Wilhelm Kühnen, 1697.
- Otto Steinkopf and Volker Kernbach: Instructions for making music on Pomeranian, Dulcian and Ranketten . Moeck, 1978.
Fagot or Basson in Marin Mersennes Harmonie universal (1637)
Wind instruments from the Syntagma musicum
Panel X with dulcians from the Syntagma musicum
Dulcians from the Brussels collection
Procession in Brussels in 1616, painting detail by Denis van Alsloot , wind instruments with dulcian
See also
literature
- Michael Praetorius: Syntagma musicum II, p. 38
- Marin Mersenne: Harmony universal: Contenant la théorie et la pratique de la musique. 1637
- László Újházy: Acoustic questions in the relationship between Pommer and Dulzian. In: Studia Musicologica Academiae Scientiarum Hungaricae, T. 31, Fasc. 1/4. 1989, pp. 421-431
- David Munrow : Musical instruments of the Middle Ages and the Renaissance , Moeck 1980 (Original edition: Instruments of the Middle Ages and Renaissance, 1976)
- Alyson Elizabeth Roberts: Studies on the construction and playing technique of the Dulzian . Dissertation University of Cologne, 1987.
Web links
- The Dulcian. dulcians.org
- Renaissance instruments: Dulzian Capella de la Torre, video (0:57 min.)
Individual evidence
- ↑ Michael Praetorius: Syntagma musicum II, panel X
- ↑ Friedrich Erhard Niedt: Musical handbook p. 110.
- ^ Sébastien de Brossard: Dictionnaire de Musique , Paris, 1702.
- ↑ Michael Praetorius: Syntagma musicum Volume II, p. 23
- ↑ Michael Praetorius: Syntagma musicum III , p. 159
- ↑ Michael Praetorius: Syntagma musicum III , p. 158
- ↑ Michael Praetorius: Syntagma musicum III , p. 154