[Kastner, Johann Georg. (1810-1867). Johann Georg Kastner, ein Elsassischer Tondichter, Theoretiker und Musikforscher. Sein Werden und Wirken. Vol.I, Vol. II, 1 & 2.. Leipzig: Breitkopf & Hartel. 1886. First edition. 3 vols. Large 8vo. 422, 440 and 424 pages. Very fine original gilt ornamented bindings, gilt page edges, original gilt stamped wrappers (endpages). Vol. I, Portrait frontis. etching, and 2 plates; Vol II/1, facsimiles, 32 pp score of his Sextett from 'Le Dernier Roi de Juda' at end; Vol II/2 facsimiles, Verzeichniss on pp 347-396. Decorative title-pages and headings to each section. Very fine.
"French writer on music and composer...He wrote five operas in Paris.... He also wrote numerous songs and partsongs, mainly for men's voices. But his strongest interest was in wind music and he was particularly enthusiastic about the innovations of Adolphe Sax...Although his music never earned him much success, his theoretical works and writings on music won him a solid reputation. His Traité général d'instrumentation (1837, enlarged 2/1844) was the first of its kind and was adopted by the Conservatoire, along with its companion volume the Cours d'instrumentation (1839, suppl. 1844). Kastner reported the latest developments in the construction of wind instruments, in Germany as well as France, in the Traité, but he also described long-outmoded instruments, such as the cornetto and theorbo. The Traité certainly influenced Berlioz (1843) and the two men were good friends; in 1859 Berlioz gave Kastner the autograph manuscript of Roméo et Juliette...Kastner wrote on a wide range of musical subjects: he contributed to the Revue et gazette musicale, Le ménestrel, the Revue étrangère and a number of German periodicals. At his death he left incomplete a vast project for a music encyclopedia." (Grove Online)
"French writer on music and composer...He wrote five operas in Paris.... He also wrote numerous songs and partsongs, mainly for men's voices. But his strongest interest was in wind music and he was particularly enthusiastic about the innovations of Adolphe Sax...Although his music never earned him much success, his theoretical works and writings on music won him a solid reputation. His Traité général d'instrumentation (1837, enlarged 2/1844) was the first of its kind and was adopted by the Conservatoire, along with its companion volume the Cours d'instrumentation (1839, suppl. 1844). Kastner reported the latest developments in the construction of wind instruments, in Germany as well as France, in the Traité, but he also described long-outmoded instruments, such as the cornetto and theorbo. The Traité certainly influenced Berlioz (1843) and the two men were good friends; in 1859 Berlioz gave Kastner the autograph manuscript of Roméo et Juliette...Kastner wrote on a wide range of musical subjects: he contributed to the Revue et gazette musicale, Le ménestrel, the Revue étrangère and a number of German periodicals. At his death he left incomplete a vast project for a music encyclopedia." (Grove Online)
[Kastner, Johann Georg. (1810-1867). Johann Georg Kastner, ein Elsassischer Tondichter, Theoretiker und Musikforscher. Sein Werden und Wirken. Vol.I, Vol. II, 1 & 2.. Leipzig: Breitkopf & Hartel. 1886. First edition. 3 vols. Large 8vo. 422, 440 and 424 pages. Very fine original gilt ornamented bindings, gilt page edges, original gilt stamped wrappers (endpages). Vol. I, Portrait frontis. etching, and 2 plates; Vol II/1, facsimiles, 32 pp score of his Sextett from 'Le Dernier Roi de Juda' at end; Vol II/2 facsimiles, Verzeichniss on pp 347-396. Decorative title-pages and headings to each section. Very fine.
"French writer on music and composer...He wrote five operas in Paris.... He also wrote numerous songs and partsongs, mainly for men's voices. But his strongest interest was in wind music and he was particularly enthusiastic about the innovations of Adolphe Sax...Although his music never earned him much success, his theoretical works and writings on music won him a solid reputation. His Traité général d'instrumentation (1837, enlarged 2/1844) was the first of its kind and was adopted by the Conservatoire, along with its companion volume the Cours d'instrumentation (1839, suppl. 1844). Kastner reported the latest developments in the construction of wind instruments, in Germany as well as France, in the Traité, but he also described long-outmoded instruments, such as the cornetto and theorbo. The Traité certainly influenced Berlioz (1843) and the two men were good friends; in 1859 Berlioz gave Kastner the autograph manuscript of Roméo et Juliette...Kastner wrote on a wide range of musical subjects: he contributed to the Revue et gazette musicale, Le ménestrel, the Revue étrangère and a number of German periodicals. At his death he left incomplete a vast project for a music encyclopedia." (Grove Online)
"French writer on music and composer...He wrote five operas in Paris.... He also wrote numerous songs and partsongs, mainly for men's voices. But his strongest interest was in wind music and he was particularly enthusiastic about the innovations of Adolphe Sax...Although his music never earned him much success, his theoretical works and writings on music won him a solid reputation. His Traité général d'instrumentation (1837, enlarged 2/1844) was the first of its kind and was adopted by the Conservatoire, along with its companion volume the Cours d'instrumentation (1839, suppl. 1844). Kastner reported the latest developments in the construction of wind instruments, in Germany as well as France, in the Traité, but he also described long-outmoded instruments, such as the cornetto and theorbo. The Traité certainly influenced Berlioz (1843) and the two men were good friends; in 1859 Berlioz gave Kastner the autograph manuscript of Roméo et Juliette...Kastner wrote on a wide range of musical subjects: he contributed to the Revue et gazette musicale, Le ménestrel, the Revue étrangère and a number of German periodicals. At his death he left incomplete a vast project for a music encyclopedia." (Grove Online)