KASTNER (Jean-Georges): Traité général d'instrumentation...M - Lot 187

Lot 187
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KASTNER (Jean-Georges): Traité général d'instrumentation...M - Lot 187
KASTNER (Jean-Georges): Traité général d'instrumentation...Minier, s.d. (C.1844). In-folio half cloth post. (scattered foxing, stamp on the title). Second edition, entirely revised by the author and increased by a supplement of 56 pp, which is bound in. Musician, composer, music theorist, born in Strasbourg in 1810, son of Jean Georges Kastner, baker, and Marie Salomé Pfeiffe, Kastner knew how to play the organ and the piano, but also many other instruments. He studied at the Protestant Gymnasium in Strasbourg, then at the Protestant Faculty of Theology. In 1829, he composed a symphonic and choral work, La Prise de Missolonghi, and, abandoning his studies, devoted himself to music. He tried his hand at opera, with Gustav Wasa, in 5 acts (1832), Oskars Tod, in 4 acts (1833), Der Sarazene, a comic opera in 2 acts. He was a member of the Philharmonic Society founded by Ch. Fr. Jupin ©. But his first success was his opera in 5 acts, Die Königin der Sarmaten, performed in Strasbourg in 1835: he was offered a scholarship by the city, and went to study composition in Paris with Berton and counterpoint with Reicha. He soon made a name for himself with numerous theoretical works: a Traité général d'instrumentation (1837), a Cours d'instrumentation considérée sous les rapports poétiques et philosophiques de l'art (1839), which the Conservatoire adopted and which inspired his friend Berlioz's treatise on instrumentation. Georges Kastner's Traité général d'instrumentation (1837), an important contribution to the study of instrumentation, is often overlooked because of its chronological proximity to Berlioz's Grand traité d'instrumentation (1843). Kastner's comprehensive and concise treatise deals with standard orchestral instruments and several obscure and early instruments. Intended primarily for young composers, he provides the most detailed descriptions of the standard wind instruments of his day and discusses recent developments such as the ophicleid and valve brass. After the publication of the Treatise, Kastner published (in 1844) a supplement including Aldophe Sax's latest innovations, entitled Cours d'instrumentation, which included musical examples of principal ones discussed in the Treatise.
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