This thesis presents a critical edition of the Concerto in C major (GUN 18) by Johann Baptist Wendling (1723-1797) together with a recording of the modern world premiere of the work as part of my final DMA recital in December 2008. Wendling lived and worked in Mannheim for most of his professional life and was widely regarded as one of the finest players of the one-keyed transverse flute in the Eighteenth Century. He knew many of the leading musicians of his day including two of the most important and influential: Mozart and Johann Christian Bach. Wendling's relationship with both composers is discussed in Chapter Two. Wendling composed a significant body of works for the flute many of which were issued by leading publishing houses in Paris, London and Amsterdam. Other works survive in manuscript, including the present concerto which was composed ca 1775 and is preserved in a contemporary set of parts in the Munster University Library.' An analysis of the Concerto is given in Chapter Four and the Munster copy is described in some detail in Chapter Five which also includes a description of the editorial procedures employed in the present edition. The editorial commentary follows in Chapter Six. The edition forms the second part of the thesis and the recording is included as Appendix 1.
This thesis presents a critical edition of the Concerto in C major (GUN 18) by Johann Baptist Wendling (1723-1797) together with a recording of the modern world premiere of the work as part of my final DMA recital in December 2008. Wendling lived and worked in Mannheim for most of his professional life and was widely regarded as one of the finest players of the one-keyed transverse flute in the Eighteenth Century. He knew many of the leading musicians of his day including two of the most important and influential: Mozart and Johann Christian Bach. Wendling's relationship with both composers is discussed in Chapter Two. Wendling composed a significant body of works for the flute many of which were issued by leading publishing houses in Paris, London and Amsterdam. Other works survive in manuscript, including the present concerto which was composed ca 1775 and is preserved in a contemporary set of parts in the Munster University Library.' An analysis of the Concerto is given in Chapter Four and the Munster copy is described in some detail in Chapter Five which also includes a description of the editorial procedures employed in the present edition. The editorial commentary follows in Chapter Six. The edition forms the second part of the thesis and the recording is included as Appendix 1.
