{"id":{"repo_id":"houston","oai_identifier":"oai:uh-ir.tdl.org:10657/17689"},"canonical_url":"https://search.dev.ndltd.org/etd/houston/oai:uh-ir.tdl.org:10657/17689","repository":{"repo_id":"houston","name":"University of Houston","base_url":"https://uh-ir.tdl.org/server/oai/request"},"display":{"title":"From Venice to Dresden: Tracing the Influence of Vivaldi’s Bassoon Concerti among his Northern Followers","abstract":"Dresden’s Hofkapelle employed over a dozen bassoonists between 1710s and 1740s and attracted composers who wrote virtuosic music for the instrument. This study traces the influence of Antonio Vivaldi’s bassoon concerti on those composers, who hailed from Prague, Berlin, Zerbst, Leipzig, and Dresden and whose works are preserved in the Schrank II collection in Dresden. Although there are no extant Dresden sources of Vivaldi’s bassoon concerti from this period, all the bassoon pieces surviving in Schrank II suggest the strong influence of Vivaldi. This study, therefore, analyzes Vivaldi’s style of writing for the instrument and compares it with the bassoon output of select Northern contemporaries and followers, including Georg Philip Telemann and Jan Dismas Zelenka. The initial biographical portion of this research focuses on Vivaldi’s places of employment and also introduces less-known composers and bassoonists who further enriched Baroque bassoon literature. Building upon work by Jeanne Swack and Steven Zohn, this study then analyzes and discusses three sonaten auf concertenart by Telemann and Zelenka as exemplars of Vivaldi’s influence on ritornello transformation and the role of the solo instrument in the ensemble. Finally, this study interprets TWV 41:f1 as a sonaten auf concertenart, though previous scholars have classified it differently. In sum, this research lays groundwork for future studies by connecting Vivaldi’s bassoon concerti with music of his Northern followers while contributing to our knowledge of the sonaten auf concertenart.","abstract_html":"Dresden’s Hofkapelle employed over a dozen bassoonists between 1710s and 1740s and attracted composers who wrote virtuosic music for the instrument. This study traces the influence of Antonio Vivaldi’s bassoon concerti on those composers, who hailed from Prague, Berlin, Zerbst, Leipzig, and Dresden and whose works are preserved in the Schrank II collection in Dresden. Although there are no extant Dresden sources of Vivaldi’s bassoon concerti from this period, all the bassoon pieces surviving in Schrank II suggest the strong influence of Vivaldi. This study, therefore, analyzes Vivaldi’s style of writing for the instrument and compares it with the bassoon output of select Northern contemporaries and followers, including Georg Philip Telemann and Jan Dismas Zelenka. The initial biographical portion of this research focuses on Vivaldi’s places of employment and also introduces less-known composers and bassoonists who further enriched Baroque bassoon literature. Building upon work by Jeanne Swack and Steven Zohn, this study then analyzes and discusses three sonaten auf concertenart by Telemann and Zelenka as exemplars of Vivaldi’s influence on ritornello transformation and the role of the solo instrument in the ensemble. Finally, this study interprets TWV 41:f1 as a sonaten auf concertenart, though previous scholars have classified it differently. In sum, this research lays groundwork for future studies by connecting Vivaldi’s bassoon concerti with music of his Northern followers while contributing to our knowledge of the sonaten auf concertenart.","abstract_has_math":false,"creators":["Savitski, Dima"],"institution":"University of Houston","degree_name":"Doctor of Musical Arts","degree_level":"Doctoral","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":["Dirst, Matthew"],"committee_chairs":[],"committee_members":["Wagner, Elise","Koozin, Timothy","Vansteenburg, Jessica"],"year":2024,"date_issued":"2024-05-09","date_published":"2024-05-09","updated_at":"2026-07-24T02:31:42Z","subjects":["Bassoon","Vivaldi","Telemann","Zelenka","Concerti","Concerto","Dresden","Sonata","Sonaten auf concertenart"],"languages":["en"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/10657/17689","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Dirst, Matthew"]},{"key":"dc:contributor.committeemember","label":"Committee Member","values":["Wagner, Elise","Koozin, Timothy","Vansteenburg, Jessica"]},{"key":"dc:creator","label":"Author","values":["Savitski, Dima"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2024-07-26T04:11:29Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2024-07-26T04:11:29Z"]},{"key":"dc:date.issued","label":"Date","values":["2024-05-09"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Doctoral"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Musical Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Houston"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Bassoon","Vivaldi","Telemann","Zelenka","Concerti","Concerto","Dresden","Sonata","Sonaten auf concertenart"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/10657/17689"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Dresden’s Hofkapelle employed over a dozen bassoonists between 1710s and 1740s and attracted composers who wrote virtuosic music for the instrument. This study traces the influence of Antonio Vivaldi’s bassoon concerti on those composers, who hailed from Prague, Berlin, Zerbst, Leipzig, and Dresden and whose works are preserved in the Schrank II collection in Dresden. Although there are no extant Dresden sources of Vivaldi’s bassoon concerti from this period, all the bassoon pieces surviving in Schrank II suggest the strong influence of Vivaldi. This study, therefore, analyzes Vivaldi’s style of writing for the instrument and compares it with the bassoon output of select Northern contemporaries and followers, including Georg Philip Telemann and Jan Dismas Zelenka. The initial biographical portion of this research focuses on Vivaldi’s places of employment and also introduces less-known composers and bassoonists who further enriched Baroque bassoon literature. Building upon work by Jeanne Swack and Steven Zohn, this study then analyzes and discusses three sonaten auf concertenart by Telemann and Zelenka as exemplars of Vivaldi’s influence on ritornello transformation and the role of the solo instrument in the ensemble. Finally, this study interprets TWV 41:f1 as a sonaten auf concertenart, though previous scholars have classified it differently. In sum, this research lays groundwork for future studies by connecting Vivaldi’s bassoon concerti with music of his Northern followers while contributing to our knowledge of the sonaten auf concertenart."]},{"key":"dc:format.mimetype","label":"Dc Format Mimetype","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["From Venice to Dresden: Tracing the Influence of Vivaldi’s Bassoon Concerti among his Northern Followers"]}]}],"canonical_facts":{"dc:contributor.advisor":["Dirst, Matthew"],"dc:contributor.committeemember":["Wagner, Elise","Koozin, Timothy","Vansteenburg, Jessica"],"dc:creator":["Savitski, Dima"],"dc:date.accessioned":["2024-07-26T04:11:29Z"],"dc:date.available":["2024-07-26T04:11:29Z"],"dc:date.issued":["2024-05-09"],"dc:description.abstract":["Dresden’s Hofkapelle employed over a dozen bassoonists between 1710s and 1740s and attracted composers who wrote virtuosic music for the instrument. This study traces the influence of Antonio Vivaldi’s bassoon concerti on those composers, who hailed from Prague, Berlin, Zerbst, Leipzig, and Dresden and whose works are preserved in the Schrank II collection in Dresden. Although there are no extant Dresden sources of Vivaldi’s bassoon concerti from this period, all the bassoon pieces surviving in Schrank II suggest the strong influence of Vivaldi. This study, therefore, analyzes Vivaldi’s style of writing for the instrument and compares it with the bassoon output of select Northern contemporaries and followers, including Georg Philip Telemann and Jan Dismas Zelenka. The initial biographical portion of this research focuses on Vivaldi’s places of employment and also introduces less-known composers and bassoonists who further enriched Baroque bassoon literature. Building upon work by Jeanne Swack and Steven Zohn, this study then analyzes and discusses three sonaten auf concertenart by Telemann and Zelenka as exemplars of Vivaldi’s influence on ritornello transformation and the role of the solo instrument in the ensemble. Finally, this study interprets TWV 41:f1 as a sonaten auf concertenart, though previous scholars have classified it differently. In sum, this research lays groundwork for future studies by connecting Vivaldi’s bassoon concerti with music of his Northern followers while contributing to our knowledge of the sonaten auf concertenart."],"dc:format.mimetype":["application/pdf"],"dc:identifier.uri":["https://hdl.handle.net/10657/17689"],"dc:language.iso":["en"],"dc:subject":["Bassoon","Vivaldi","Telemann","Zelenka","Concerti","Concerto","Dresden","Sonata","Sonaten auf concertenart"],"dc:title":["From Venice to Dresden: Tracing the Influence of Vivaldi’s Bassoon Concerti among his Northern Followers"],"dc:type":["Thesis"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Doctoral"],"thesis:degree_name":["Doctor of Musical Arts"],"thesis:institution_name":["University of Houston"]},"updated_at":"2026-07-24T02:31:42Z"}