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Vorwort Preface HN_368_Vorwort_Hofmann-Druck.fm Seite IV Dienstag, 1. April 2014 1:24 13 IV Vorwort 1768), der vorwiegend in Paris wirkte, 1. Es gibt fast keine barocken Stücke, nahm die Tradition der französischen in denen sämtliche Artikulationen no- Violinsonate in seine Flötenmusik auf. tiert sind; dem Ausführenden obliegt es, Auch verfolgte Blavet musikpädagogi- das Fehlende zu ergänzen. In der Flötenmusik der Barockzeit sind sche Ziele in diesen Werken. Der Oboist 2. Ermangelt ein Stück jeglicher An- die Werke von Bach und Händel an mu- und Komponist GIUSEPPE SAMMARTINI gabe zur Artikulation, so ist dies nicht sikalischem Rang sowie an Bekanntheit (1695 bis 1750) wird auch der „Londo- als Befehl zu durchgängigem Détaché- und Beliebtheit unübertroffen. Es sollte ner“ Sammartini genannt, im Gegensatz spiel aufzufassen, sondern eher als Auf- aber nicht vergessen werden, dass zahl- zu seinem Bruder Giovanni Battista, forderung, eigene Artikulationen anzu- reiche andere Komponisten in ganz Eu- dem so genannten „Mailänder“ Sam- bringen. ropa zur selben Zeit im Anspruch zwar martini. JOHANN PHILIPP EISEL (1698 3. Im Falle vereinzelt notierter Arti- bescheidenere, aber doch reizvolle Mu- bis nach 1756) lebte als Jurist in Erfurt. kulationen sind diese als verbindlich sik für Flöte geschrieben haben. Der Er war Musikliebhaber, der gelegentlich und vorbildlich zu betrachten, d. h. das vorliegende Band berücksichtigt des- auch komponierte. Um 1700 wurde GIO- ganze Stück muss in entsprechender halb deren Schaffen und verzichtet auf VANNI CHINZER geboren. Im Erstdruck Weise artikuliert werden. die in modernen Ausgaben leicht er- seines in unserer Ausgabe berücksich- Die Generalbass-Ziffern werden reichbaren großen Komponisten der tigten Opus 5 steht da Firenze, Compo- durchweg gemäß der Schreibweise der Epoche. sitore, e Maestro di Cappella di musica Quellen wiedergegeben. Eine moderni- Der englische Organist und Kompo- vocale, e strumentale e professore di sierte Schreibweise wird nur dort gebo- nist DANIEL PURCELL (um 1663 bis Tromba. Außer in Florenz hielt sich ten, wo dem Benutzer die Bezifferung 1717), Bruder des berühmten Henry Chinzer wohl auch in Paris auf, da dort sonst unverständlich bleiben müsste. Purcell, lebte in London und Oxford. viele seiner Werke erschienen. Die im Kleinstich hinzugefügte Ausset- JOHANN CHRISTOPH PEPUSCH (1667 bis zung der Continuostimme ist so einfach 1752) wurde in Berlin geboren und ver- Bei der Aufführung von Barockmusik wie möglich gehalten. So kann der Cem- ließ um die Jahrhundertwende Deutsch- stellen sich dem Interpreten vor allem balist wählen zwischen einer sehr kon- land, um ab 1704 in England zu wir- zwei Aufgaben: sinnvolle Artikulation zentrierten Version und eigener Impro- ken. Bekannt wurde er vor allem durch und sinnvolle melodische Verzierung. visation, ohne bei letzterer durch allzu die Beggar’s Opera. Der deutsche Kom- Beide setzen einerseits Vertrautheit mit ausführliche vorgedruckte Fremdlösun- ponist JOHANN CHRISTIAN SCHICKHARD den Konventionen, den „Regeln“ baro- gen beeinträchtigt zu werden. (um 1682 bis 1762), der auch in den cker Musizierpraxis, voraus, anderer- Unsere Edition legt die Erstausgaben Niederlanden tätig war, erfreute sich seits bieten gerade sie den Freiraum für zu Grunde. In den Quellen fehlende Zei- zu seiner Zeit großer Popularität, wie eine persönliche Interpretation, in der chen stehen in Klammern. In den Be- zahlreiche Drucke seiner Werke bewei- sich stilistisches Empfinden und Fanta- merkungen am Ende des Bandes sind sen. JOHAN HELMICH ROMAN (1694 bis sie manifestieren können. Angaben zu den Quellen und zu unter- 1758), Komponist und Dirigent vor al- Für Verzierungen sind die Möglich- schiedlichen Lesarten zu finden. lem in Stockholm, gilt als „Vater der keiten sehr vielfältig, der persönliche schwedischen Musik“. Er bereiste ganz Geschmack spielt dabei eine maßgebli- Basel und München, Sommer 1985 Europa und war mit dem Schaffen der che Rolle, und im Idealfall sollten sie Peter-Lukas Graf zeitgenössischen Komponisten vertraut. nicht fixiert, sondern improvisiert wer- Ernst-Günter Heinemann Der belgische Komponist und Oboist den. Aus diesen Gründen haben wir JACQUES LOEILLET (1685 bis 1748), darauf verzichtet, Vorschläge zu un- Angehöriger der weit verzweigten Musi- terbreiten, und zwar auch dort, wo kerfamilie, hielt sich lange Zeit in Mün- uns Verzierungen in der Flötenstimme chen auf. Als er nach Frankreich ging, dringend angezeigt erscheinen. Wir be- Preface übernahm er den Vornamen seines dort schränkten uns darauf, einige Kadenz- erfolgreichen Cousins Jean-Baptiste triller hinzuzufügen, die man als obliga- Loeillet de Gant und nannte sich nun torisch bezeichnen darf. Jacob Jean-Baptiste Loeillet. Der engli- Um verschiedenen Lösungsmöglich- Of all Baroque works for flute there are sche Komponist und Organist THOMAS keiten nicht vorzugreifen, hält sich die none so popular, or of such high quality, ROSEINGRAVE (1688 bis 1766) gab Ausgabe auch hinsichtlich der Artikula- as those of Bach and Handel. However, 1739 eine Sammlung von 42 Sonaten tionen an die Vorlage. Lediglich bei ein- it should not be forgotten that in the Domenico Scarlattis heraus und begrün- deutigen Analogstellen wurden vorgege- same period many other composers dete damit die Tradition der englischen bene Bindungsbögen übernommen. Als throughout Europe were writing charm- Scarlattipflege. Der französische Flöten- Interpretationshilfe möchten wir aber ing, if more modest, music for flute. virtuose MICHEL BLAVET (1700 bis auf Grundsätzliches hinweisen: This edition is devoted to their works, HN_368_Vorwort_Hofmann-Druck.fm Seite V Dienstag, 1. April 2014 1:24 13 V and deliberately disregards the major Besides Florence, Chinzer probably also the harpsichordist to choose between composers of the period, whose works lived in Paris since a number of his playing a very spare accompaniment or are readily available in modern editions. works appeared there. improvising his own without finding his The English organist and composer imagination hampered by someone DANIEL PURCELL (c. 1663–1717), When performing Baroque music the else’s solutions. brother of the famous Henry Purcell, musician is faced with two main tasks: We have drawn our text from the first lived in London and Oxford. JOHANN meaningful articulation and meaningful editions. Signs added to the sources ap- CHRISTOPH PEPUSCH (1667–1752) was ornamentation of the melody. Both of pear in parentheses. The Comments at born in Berlin and left Germany around these presuppose a familiarity with the the end of this volume provide informa- the turn of the century to live in Eng- conventions or ‘rules’ of Baroque music- tion on the sources and alternative read- land from 1704. He is known most of all making, and yet, at the same time, they ings. for his Beggar’s Opera. The German also grant the performer leeway for a composer JOHANN CHRISTIAN SCHICK- personal interpretation in which to dis- Basle and Munich, summer 1985 HARD (c. 1682–1762), who was also play his imagination and his sense of Peter-Lukas Graf active in Holland, enjoyed great popu- style. Ernst-Günter Heinemann larity during his lifetime, as attested by There are many different ways of or- the many prints of his works. JOHAN namenting a melody: individual taste HELMICH ROMAN (1694–1758), a com- plays a key role, and ideally the orna- poser and conductor active primarily in ments should be improvised rather than Stockholm, is considered the “father of predetermined. For this reason we have Swedish music.” He travelled through- deliberately refrained from making sug- out Europe and was familiar with the gestions, even in flute passages where works of his contemporaries. The Bel- ornamentation seems urgently called gian composer and oboist JACQUES for. We have merely added a few caden- LOEILLET (1685–1748) came from a tial trills which might be regarded as Préface large musical family with many branch- mandatory. es. Long resident in Munich, he then As far as articulation is concerned, went to France where he adopted the here too we have closely followed the Christian name of his successful cousin source so as not to anticipate the per- Dans la littérature musicale pour flûte Jean-Baptiste Loeillet de Gant, thereby former’s own solutions. Only in obvious- de l’époque baroque, les œuvres de Bach becoming Jacob Jean-Baptiste Loeillet. ly parallel passages have slurs been add- et de Haendel restent inégalées tant The English composer and organist ed. However, as an aid to the performer, pour leur haut niveau musical que pour THOMAS ROSEINGRAVE (1688–1766) we would like to point out some basic leur grande popularité. Il ne faut toute- edited a collection of 42 sonatas by rules: fois pas oublier qu’à la même époque, Domenico Scarlatti in 1739, thereby (1) In very few Baroque pieces is the dans toute l’Europe, nombre d’autres founding the Scarlatti tradition in Eng- articulation completely notated; it is the musiciens ont eux aussi composé de la land. MICHEL BLAVET (1700–1768), a performer’s responsibility to fill in what musique pour flûte, une musique certes French flute virtuoso active primarily in is missing. moins ambitieuse mais cependant pleine Paris, incorporated in his flute music (2) If a piece has no marks whatsover d’attrait. Le présent volume est consacré the tradition of the French violin sonata. regarding articulation this should not be à l’œuvre de ces compositeurs souvent His works are also pedagogical in intent. construed as an instruction to play the méconnus et laisse volontairement de The oboist and composer GIUSEPPE entire piece détaché, but rather as an in- côté les grands noms de l’époque, aux- SAMMARTINI (1695–1750) is known as vitation to add one’s own articulation. quels de nombreuses éditions modernes the “London” Sammartini to distin- (3) When isolated articulation marks sont consacrées. guish him from his brother Giovanni occur they should be regarded as obliga- L’organiste et compositeur anglais Battista, the so-called “Milan” Sam- tory and exemplary, i.e. the piece should DANIEL PURCELL (v. 1663–1717), frère martini. JOHANN PHILIPP EISEL (1698– be articulated in this fashion through- du célèbre Henry Purcell, vécut à Lon- after 1756) was a lawyer and musical out.
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