论文部分内容阅读
18世纪末,巴罗克双簧管乐队孕育出不少管乐合奏组织,与此同时,巴罗克独奏协奏曲与大协奏曲推动了个体为主的室内管乐演奏的发展,巴赫的第一、二、五布兰登堡协奏曲就是比较典型的例子,该曲视所有管乐器为一个完整的独奏群体。 古典时期,一些木管奏鸣曲、协奏曲及室内乐作品通常既能与钢琴合作（如莫扎特 1784年的“五重奏,作品452号”;贝多芬1796年的“五重奏,作品16号”）,又可以将每件乐器作为独立的声部互相作重奏形式的演奏,这种创作手法将木管五重奏的发展向现代阶段推进了一步。
At the end of the 18th century Baroque oboe bands conceived a number of wind ensemble organizations. At the same time, Baroque’s solo concerto and major concerto promoted the development of individual-dominated indoor wind instruments. The first, second and fifth of Bach A typical example is the Brandenburg Concerto, which includes all wind instruments as a complete solo group. In classical times, some woodwind sonatas, concerto and chamber music often work with the piano (such as Mozart’s Quintet 452, Beethoven 1756 Quintet 16) Playing each instrument as an independent vocal part in the form of a re-ensemble, this creative approach takes the development of the woodwind quintet one step closer to the modern stage.