This paper presents evidence that before Hampel, hand horn was in use and called for by composers. Because of the number of works for horn he generated before and during Hampel's life, Telemann's pieces provide powerful insight into the use of Baroque horn. Musical examples originate from passages in Telemann's works where the horn performs in a solo capacity and the music requires the performer to produce pitches outside the harmonic series. By necessity, the performer must use either the hand or bend the note with the embouchure in order to produce the correct pitch with the hand being the logical choice. The paper also examines published interviews from horn pedagogues, history books, method books from the classical and baroque eras, baroque and hand horn design, as well as articles written by some of the world's foremost baroque and hand horn experts.
By indentifying the number of non harmonic series tones in Telemann's music, combined with the opinions of hand horn experts, this paper suggests that horn players during the Baroque era must have known about, and used, hand horn technique. This knowledge will influence performer's interpretation of baroque pieces by providing a more historically informed performance, clearer understanding of intonation, the variety of tone colors expected, and create a better understanding of the development of the horn from foxhunting to the concert hall.
An eighteenth-century polychoral vespers service of José Gil Pérez: edition and historical context
The majority of trust research has focused on the benefits trust can have for individual actors, institutions, and organizations. This “optimistic bias” is particularly evident in work focused on institutional trust, where concepts such as procedural justice, shared values, and moral responsibility have gained prominence. But trust in institutions may not be exclusively good. We reveal implications for the “dark side” of institutional trust by reviewing relevant theories and empirical research that can contribute to a more holistic understanding. We frame our discussion by suggesting there may be a “Goldilocks principle” of institutional trust, where trust that is too low (typically the focus) or too high (not usually considered by trust researchers) may be problematic. The chapter focuses on the issue of too-high trust and processes through which such too-high trust might emerge. Specifically, excessive trust might result from external, internal, and intersecting external-internal processes. External processes refer to the actions institutions take that affect public trust, while internal processes refer to intrapersonal factors affecting a trustor’s level of trust. We describe how the beneficial psychological and behavioral outcomes of trust can be mitigated or circumvented through these processes and highlight the implications of a “darkest” side of trust when they intersect. We draw upon research on organizations and legal, governmental, and political systems to demonstrate the dark side of trust in different contexts. The conclusion outlines directions for future research and encourages researchers to consider the ethical nuances of studying how to increase institutional trust.
Schulze, and Sauer, visions of the large colossus organs of the cathedrals of Merseburg,
Schwerin, and Berlin come to mind. These instruments were rich in power but also in
timbre and dynamic contrasts, able to crescendo from barely audible to thundering and
back. On the other hand, their eighteenth-century predecessors in the Southern and
Central German regions of Baden-Württemburg, Bavaria, Thuringia, and Saxony showed
a softer side characterized by few reeds and mixtures, generally small size, and gentle
voicing and winding. However, many of the traits found in these earlier instruments,
including an abundance of 8’ registers, a focus on color rather than contrapuntal clarity,
tierce mixtures, and a relatively low proportion of mixtures and reeds to foundation stops
are carried over to the early Romantic organs.
Especially interesting are the transitional instruments around the turn of the
nineteenth century. The end of the eighteenth century and beginning of the nineteenth, the
time between the death of J. S. Bach in 1750 and E. F. Walcker’s construction of the
Paulskirche organ in Frankfurt in 1833, often appears as a sort of “Dark Ages” for the
organ in which little happened to advance the organ into the new century. Modern
scholarship has largely overlooked these instruments. However, the Central and Southern
German states were among the few areas that saw a continuation of organ building
through the economic and political disaster resulting from the Napoleonic Wars, the
secularization of many institutions including the grand abbeys of Swabia, and a rapid
change in musical aesthetic toward the symphonic and the virtuosic.
In this document, I examine organs of the Southern and Central German territories
of Baden-Württemberg, Bavaria, Thuringia, and Saxony. I focus on organs that show
development from the late Baroque to the early Romantic Period, culminating in the
organs of Eberhard Friedrich Walcker in Baden-Württemberg and Friedrich Ladegast in
Thuringia. These little-known transition instruments provide intriguing insight into the
genesis of the famous German Romantic organs, giants in stature and sound.