A review of the published music for solo bassoon suggests that there is relatively little solo literature for the instrument that dates from the late eighteenth and early nineteenth centuries. This document focuses on the creation of a modern performance edition and piano reduction of a recently uncovered work for solo bassoon and orchestra by Johann Dotzauer, VIII Variations for Bassoon and Orchestra, Op. 40 (originally published by Freiderich Hoffmeister Musikverlag in 1817).A comparison of Dotzauer's work with a comparable published work by Anton Reicha, reveals that the two works are similar in their treatment of phrase structure, form, harmonic and melodic language, range, and solo passagework. This comparison has shown that Dotzauer's piece is representative of the type of writing for solo bassoon that skilled composers employed in the early nineteenth century. Through the editing process, errors and inconsistencies found in the newly-uncovered Hoffmeister Edition of VIII Variations such as corrections to pitches and notation, articulation markings, dynamic markings, and other changes have been corrected in a manner that both reflects the integrity of the Hoffmeister Edition and adds clarification for those who will perform the work. VIII Variations for Bassoon and Orchestra, Op. 40 by Johann Dotzauer, is a well-crafted composition for solo bassoon that will help fill a void in the literature for bassoon now that it is more accessible through the creation of a new performance edition and piano arrangement.

Inaug.-Diss.--Cologne. / Vita. Bibliography: p. [146]-147.

This thesis focuses on specific business personality of the nineteenth century - Richard Dotzauer. It charts his work in the field of business, but so is devoted to his public activities in the federal and political life. As part of the work is monitored also the issue of entrepreneurial mentality and lifestyle. As part of this work is to form a wider excursion pointed to other significant business personality of study epoch. Richard Dotzauer represents a type of German businessmen. In the case of Andreas Haase terms of personality that goes nationally difficult to define. Jindřich Fügner is nationally representative of the Czech entrepreneurship. The work studies the personalities mentioned in the context of important processes of the nineteenth century, such as the industrialization, the formation of the national movement and the emergence of modern civil society. Powered by TCPDF (www.tcpdf.org)

Until the nineteenth century, the violoncello was considered a background accompaniment instrument. By 1900 however, over eighty method books had been published for cello, and Richard Wagner and Richard Strauss were composing orchestral cello parts equal in difficulty to those of the violin, traditionally the only virtuosic string part. The emancipation from the ties of bass ostinato for the cello began with Bernhard Romberg in Dresden. The group of cellists, who came to be known as the Dresden School, included Kummer, Lee, Goltermann, Cossmann, Popper, Grutzmacher, Davidov, and other cellists that were students and colleagues of this group. The Dresden School of cellists attempted not only to bring the instrument into prominence, but to revolutionize the technique of the instrument completely. The cello pedagogues of the Dresden School achieved this by publishing their methods and advancements in technique in cello etude and method books. This efficient process of dissemination allowed for the members of the school to improve on each other's work over time. By the second half of the nineteenth century, the cello pedagogy of the Dresden School was established through the etudes published by the cellist-composers of the Dresden School, and these etudes are still considered some of the most advanced studies for cello, and are the foundation of modern cello pedagogy. At the turn of the twentieth century the Dresden School was the leading cello school in the world, and no longer tied only to the city of Dresden, but spread throughout Europe and beyond. In the publishing of their etudes, the Dresden cellists not only passed down their information to their students, but also to future generations of cellists. Descendants of the Dresden School cellists are now performing in almost every nation and teaching the ideas born in nineteenth century Germany.