An Organological Approach to the History of the Flauto Piccolo with a Pre- and Post-Beethoven Analysis, Including the Complete Study of Beethoven’s Implementation of the “Ottavino”

This thesis is an organological approach to the role of the piccolo in the orchestration of compositions from the seventeenth through the nineteenth century, classifying these periods as Pre-Beethoven, Beethoven, and Post-Beethoven. From research and review of the literature, composers and their compositions which specifically called for the use of the piccolo are tabulated and analyzed. The analysis is categorized into the evolution of the debutante piccolo, by observing its accomplishments by the following analysis of what the piccolo accomplished in that role: [1.] As an extender of range and dynamics; [2.] Programmatic effects achieved; [3.] Its inclusion in solo arrangements either within a movement or as the complete soloist; each of these concepts will be built into the Pre-, Beethoven and Post-Beethoven periods. For this thesis, the Pre-Beethoven period ranges from the possibility of Claudio Giovanni Antonio Monteverdi (1567 – 1643) for ‘Flautino,’ written in 1607 to Mozart, including the military music of the French Revolution. The Beethoven period is covered by a discussion of the role of the piccolo in Beethoven’s orchestration dividing his career into his early period that has not been previously examined in any detail in existing research literature. His middle and late period including a re-examination of his symphonic works related to the piccolo from this authors perspective including his symphonic works follows. These include the Fifth Symphony, the Sixth Symphony, Egmont, and the Ninth Symphony. After that, the document examines the post-Beethoven period until its maturity into a solo instrument as conceived by Tchaikovsky in his 4th Symphony. keywords: