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The Eminent Pedagogue Johann Joachim Quantz As Instructor Of Kulturgeschichte Preuûens - Colloquien 6 (2018) Walter Kurt Kreyszig The Eminent Pedagogue Johann Joachim Quantz as Instructor of Frederick the Great During the Years 1728-1741: The Solfeggi, the Versuch einer Anweisung die Flöte traversière zu spielen, and the Capricen, Fantasien und Anfangsstücke of Quantz, the Flötenbuch of Frederick the Great and Quantz, and the Achtundzwanzig Variationen über die Arie "Ich schlief, da träumte mir" of Quantz (QV 1:98) Abstract Johann Joachim Quantz (1697-1773), the flute instructor of Frederick the Great (1712-1786), played a seminal role in the development of the Prussian Court Music, during its formative years between 1713 and 1806. As a result of his lifetime appointment to the Court of Potsdam in 1741 by King Frederick the Great, Quantz was involved in numerous facets of the cultural endeavors at the Court, including his contributions to composition, performance and organology. Nowhere was his presence more acutely felt than in his formulation of music-pedagogical materials an activity where his knowledge as a preminent pedagogue and his skills as a composer, organologist and performer fused together in most astounding fashion. Quantz's effectiveness in his teaching of his most eminent student, Frederick the Great, is fully borne out in a number of documents, including the Solfeggi, the Versuch, the Caprices, Fantasien und Anfangsstücke, and the Achtundzwanzig Variationen über die Arie "Ich schlief, da träumte mir". While each document touches on different aspects of the musical discipline, these sources vividly underscore the intersection between musica theorica and musica practica and as such provide testimony of Johann Joachim Quantz as a genuine musicus. Keywords: compositional practice, flute repertory, instruction manuals, musicus, organology, performance practices, Johann Joachim Quantz as musicus <1> Among the principal treatises of the mid eighteenth century1, the Versuch einer Anweisung die Flöte traversiëre zu spielen (1752) of Johann Joachim Quantz (1697-1773) enjoyed the widest dissemination across Europe2. The various editions of the original and the considerable number of foreign-language 1 See Table 1; see also Ingomar Rainer: Zum didaktischen Konzept in den groûen Instrumentalschulen des 18. Jahrhunderts, in: Alte Musik und Musikpädagogik. Bericht über das von der Lehrkanzel "Musikalische Stilkunde und Aufführungspraxis" an der Abteilung Musikpädagogik der Hochschule für Musik und Darstellende Kunst in Wien aus Anlass des 17-jährigen Jubiläums der Hochschule veranstaltete Symposion "Alte Musik und Musikpädagogik", ed. by Hartmut Krones (= Wiener Schriften zur Stilkunde und Aufführungspraxis, 1) Vienna 1997, 103-111. For an overview of treatises on flute playing prior to Quantz, with special attention to Jacques Martin Hotteterre (1674-1763), Michel Corrette (1707-1795) and Peter Prelleur (1705-1741), see Wolfram Sauter: Die frühen Querflötenschulen und ihre musikhistorische Anordnung, unpublished Ph.D. Dissertation, Universität München 1997. 2 Edward R. Reilly: The Dissemination of the Versuch, in: Edward R. Reilly: Quantz and His Versuch. Three Studies (= American Musicological Society. Studies and Documents, 5), New York 1971, 68-79; see also Hans-Peter Schmitz: Quantz heute. Der "Versuch einer Anweisung die Flöte traversière zu spielen" als Lehrbuch für unser Lizenzhinweis: Dieser Beitrag unterliegt der Creative-Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC-BY-NC-ND), darf also unter diesen Bedingungen elektronisch benutzt, übermittelt, ausgedruckt und zum Download bereitgestellt werden. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ translations of this seminal document received endorsement, judging from the comments of contemporaries, among them Carl Philipp Emanuel Bach (1714-1788) in his Versuch (1753-1762)3, Johann Adam Hiller (1728-1804) in his Lebensbeschreibungen (1784)4, and Friedrich Wilhelm Marpurg (1718-1795) in his Historisch-kritische Beyträge (1754-1788)5 as well as later composers, among them Quantz's successor in the Dresden Orchestra, Moritz Fürstenau (1824-1889) in his Beiträge (1849)6. The authors identified in Table 1 share similar approaches with regard to the comprehensive coverage of a plethora of topics, closely connected with the principal theme of the respective volumes, including the history and organological properties of the instrument, issues of physiology pertaining to the posture and embouchure of the performer, the fingerings of the gamut, the interpretation of various instrumental genres, including sonata and the concerto, pedagogy, theory and rhetoric. <2> Quantz achievied notoriety in several realms of the discipline of music7, specifically as a virtuoso performer on the flute, as an eminent pedagogue and author of pedagogical tools, including the Solfeggi8, Musizieren, Kassel 1987. 3 Carl Philipp Emanuel Bach: Versuch über die wahre Art, das Clavier zu spielen, mit Exempeln und achtzehn Probe- Stücken in sechs Sonaten erläutert, Erster Teil, Berlin 1753; second edition Berlin 1759; third edition Leipzig 1780; fourth edition Leipzig 1787; Zweiter Teil, Berlin 1762; second edition Leipzig 1780; third edition Leipzig 1797; also as facsimile reprint, ed. by Lothar Hoffmann-Erbrecht, Leipzig 1978, also as 3 vols., ed. by Tobias Plebuch (= Carl Philipp Emanuel Bach. Complete Works, Series 7: Theoretical Writings), Los Altos, California 2011; also in English translation by William J. Mitchell, translated and ed.: Carl Philipp Emanuel Bach: Essay on the True Art of Playing Keyboard Instruments, Parts I and II, New York 1949. 4 Johann Adam Hiller: Lebensbeschreibungen berühmter Musikgelehrter und Tonkünstler unserer Zeit, Leipzig 1784, reprint 1975; Mark Lehmstedt, ed. with commentary: Johann Adam Hiller: Mein Leben ± Autobiographie, Briefe und Nekrologe, Leipzig 2004; see also Gundula Schütz: "Den Liebhabern der Musik, die sie eben so gern mit dem Verstande als mit den Fingern studieren". Johann Adam Hillers Nachrichten und Anmerkungen die Musik betreffend, in: Musik und Bürgerkultur. Leipzigs Aufstieg zur Musikstadt, ed. by Stefan Horlitz / Marion Recknagel unter Mitarbeit von [in collaboration with] Janina Moelle (= Leipzig. Musik und Stadt ± Studien und Dokumente, 2), Leipzig 2007, 10- 36. 5 Friedrich Wilhelm Marpurg: Historisch-kritische Beyträge zur Aufnahme der Musik, 5 vols, Berlin 1754-1788, reprint Hildesheim 1970. 6 Moritz Fürstenau: Beiträge zur Geschichte der Königlich-Sächsischen musikalischen Kapelle, groûentheils aus archivalischen Quellen, Dresden 1849; Moritz Fürstenau: Zur Geschichte der Musik und des Theaters am Hofe zu Dresden; Zweiter Theil: Zur Geschichte der Musik und des Theaters am Hofe der Kurfürsten von Sachsen und Könige von Polen, Friedrich August I. (August II.) und Friedrich August II. (August III.), 2 vols., Dresden 1861-1862, reprint Hildesheim 1971; see also Bernhard Maria Heinrich Schneeberger: Die Musikerfamilie Fürstenau. Untersuchungen zu Leben und Werk, 2 vols. (= Musikwissenschaft, 3), Münster in Westfalen 1992. 7 Albert Quantz: Leben und Werke des Flötisten Johann Joachim Quantz, Lehrer Friedrichs des Grossen ± Nach den Quellen dargestellt, Berlin 1877; Adolf Raskin: Johann Joachim Quantz. Sein Leben und seine Kompositionen, unpublished Ph.D. Dissertation, Universität Köln 1923; Meike ten Brink: Johann Joachim Quantz, Göttingen 2004. 8 Johann Joachim Quantz: Solfeggio pour la flute traversière avec l'enseignement par Monsr. Quantz, nach dem Autograph erstmals herausgegeben von / first edition based on the autograph by Winfried Michel / Hermien Teske, Lizenzhinweis: Dieser Beitrag unterliegt der Creative-Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC-BY-NC-ND), darf also unter diesen Bedingungen elektronisch benutzt, übermittelt, ausgedruckt und zum Download bereitgestellt werden. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ the Versuch einer Anweisung die Flöte traversière zu spielen9, and the Capricen, Fantasien und Anfangsstücke of Quantz10, the Flötenbuch of Frederick the Great (1712-1786) and Quantz11, and the Achtundzwanzig Variationen über die Arie "Ich schlief, da träumte mir" of Quantz (QV 1:98)12, as a composer of a large body of flute works13, comprising solo sonatas14, trio sonatas15 and concertos16, as an organologist17, with his most notable contribution in the introduction of a second key, the d-flat key, during his sojourn in Paris18, and the addition of corps de rechange (up to six middle pierces as a means of overcoming significant differences in pitch which had been adjusted by the pushing in or pulling out the Winterthur 1978. 9 Johann Joachim Quantz: Versuch einer Anweisung die Flöte traversière zu spielen ± Faksimile der Ausgabe Berlin 1752, mit einer Einführung von [with an introduction by] Barthold Kuijken, Wiesbaden 1988, "Exempel zu Johann Joachim Quantzens Versuche einer Anweisung die Flöte traversière zu spielen, auf XXIV. Kupfertafeln"; see also Edward R. Reilly, translated with introduction and notes: Johann Joachim Quantz: On Playing the Flute, New York 1966, reprint 1975; second edition New York 1985; see also Edward R. Reilly: Further Musical Examples for Quantz's "Versuch", in: Journal of the American Musicological Society 17/2 (Summer 1964), 157-169. 10 Johann Joachim Quantz: Capricen, Fantasien und Anfangsstücke für Flöte solo und mit B.c. / Caprices, Fantasias and Beginner's Pieces for Flute Solo and
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