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The History and Process of the Development of the Modern Flute
Running Head: FLUTE DEVELOPMENT 1 The History and Process of the Development of the Modern Flute Sarah Vitullo A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2013 FLUTE DEVELOPMENT 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Kevin Chiarizzio, D.M.A. Thesis Chair ______________________________ Robert Mills, M.M. Committee Member ______________________________ Michael Babcock, Ph.D. Committee Member ______________________________ Marilyn Gadomski, Ph.D. Assistant Honors Director ______________________________ Date FLUTE DEVELOPMENT 3 Abstract The flute has gone through many phases of development starting from its early form to the modern model which is played today. Though many important flute makers, composers and musicians were part of this process, Johann Joachim Quantz and Theobald Boehm were the two major contributors to the flute’s technological developments. The flute started as a simple tube with holes to which keys were progressively added by Quantz. Boehm completely redesigned the flute to enable the performer to cover more holes than the human hand fingers alone are capable. Although the work of Quantz and Boehm took time to become accepted, the developments have become an integral part of what is now known as the modern flute. FLUTE DEVELOPMENT 4 The History and Process of the Development of the Modern Flute The development of the modern flute is a complex process which has been ongoing for thousands of years. The major developments of the modern flute occurred during the 1700s and 1800s and were largely a product of Johann Joachim Quantz and Theobald Boehm. -
Event Archive 2003-2006
PREVIOUS SEASONS 2003-2006 2006 17th January, 2006, Church of St Mary, Warwick J.S. Bach - Sonata for violin with continuo in E minor, BWV 1023 J.S. Bach - Toccata for Harpsichord in D minor, BWV 913 Biber - Mystery Sonatas No’s 10 & 11 "The Crucifixion and the Resurrection" Biber - Mystery Sonata No 16 the "Guardian Angel" Passacaglia in G minor J.S. Bach - Suite No 1 for solo Violoncello in G, BWV 100 J.S. Bach - Sonata for violin with continuo in G, BWV 1021 Ensemble: Elizabeth Wallfisch + Violin: Elizabeth Wallfisch; 'Cello: Jaap ter Linden Harpsichord: Andrew Arthur 27th January, 2006, Church of St Bartholomew, Brighton The Genius of Mozart: Prague 1791 Overture to 'La Clemenza di Tito', K. 621 Concerto No. 27 for Piano in Bb, K. 595 Requiem in d, K. 626 Fortepiano: Nikolai Demidenko The Hanover Band (Organ Continuo) Conductor: Paul Brough 31st January, 2006, St John's, Smith Square, London The Genius of Mozart: Prague 1791 Overture to 'La Clemenza di Tito', K. 621 Concerto No. 27 for Piano in Bb, K. 595 Requiem in d, K. 626 Fortepiano: Nikolai Demidenko The Hanover Band (Organ Continuo) Conductor: Paul Brough 11th March, 2006, Guilford Cathedral J.S. Bach - St John Passion, BWV 245 The Hanover Band Conductor: Hilary Davan Wetton 2nd April, 2006, Milton Keynes Handel - Messiah (arr. Mozart) The Hanover Band 6th April, 2006, Church of All Saints, Margaret Street, London 20th Century Music of Remembrance Z. Kodaly - Missa Brevis P. Casals - O vos omnes J. Ireland - Greater Love C.V. Stanford - Justorum Animae O. -
Mobile Technologies for Conflict Management Law, Governance and Technology Series
Mobile Technologies for Conflict Management Law, Governance and Technology Series VOLUME 2 Series Editors: POMPEU CASANOVAS, UAB Institute of Law and Technology, Bellaterra, Barcelona, Spain GIOVANNI SARTOR, University of Bologna (Faculty of Law -CIRSFID) and European University Institute of Florence, Italy Scientific Advisory Board: GIANMARIA AJANI, University of Turin, Italy; KEVIN ASHLEY, University of Pittsburgh, USA; KATIE ATKINSON, University of Liverpool, UK; TREVOR J.M. BENCH-CAPON, University of Liverpool, UK; V. RICHARDS BENJAMINS, Telefonica, Spain; GUIDO BOELLA, Universita’ degli Studi di Torino, Italy; JOOST BREUKER, Universiteit van Amsterdam, The Netherlands; DANIÈLE BOURCIER, CERSA, France; TOM BRUCE, University of Cornell, USA; NURIA CASELLAS, Institute of Law and Technology, UAB, Spain; CRISTIANO CASTELFRANCHI, ISTC-CNR, Italy; G. CONRAD JACK, Thomson Reuters, USA; ROSARIA CONTE, ISTC-CNR, Italy; FRANCESCO CONTINI, IRSIG-CNR, Italy; JESÚS CONTRERAS, iSOCO, Spain; JOHN DAVIES, British Telecommunications plc, UK; JOHN DOMINGUE, The Open University, UK; JAIME DELGADO, Arquitectura de Computadors, Spain; MARCO FABRI, IRSIG-CNR, Italy; DIETER FENSEL, University of Innsbruck, Austria; ENRICO FRANCESCONI, ITTIG, Italy; FERNANDO GALINDO, Universidad de Zaragoza, Spain; ALDO GANGEMI, ISTC-CNR, Italy; MICHAEL GENESERETH, Stanford University, USA; ASUNCIÓN GÓMEZ-PÉREZ, Universidad Politécnica de Madrid, Spain; THOMAS F. GORDON, Fraunhofer FOKUS, Germany; GUIDO GOVERNATORI, NICTA, Australia; GRAHAM GREENLEAF, The University of New -
Koechlin International Online Flute Competition Meet the Adjudicators
Koechlin International Online Flute Competition Meet the adjudicators Gitte Marcusson is Professor of Flute at Royal College of Music, London and musical director at Vänersborg School of Music near her home in Sweden. Gitte is devoted to teaching and in addition to her professorship at RCM, coaches students worldwide in her London based studio. She has taught many of today's outstanding flautists, such as Katherine Bryan, Principal Flute of the Royal Scottish National Orchestra; Adam Walker, Principal Flute of the London Symphony Orchestra; Alex Jakeman, Principal Flute of the BBC Philharmonic; and Joshua Batty, Principal Flute Sidney Symphony Orchestra. Gitte taught at Chethams School of Music for 16 years and is much in demand as guest professor giving classes at conservatories and colleges around the world. She is founder and director of Nordic Flute International Summer School and is a member of the faculty at Wildacres Flute Retreat, North Carolina. As a student Gitte left her native Denmark to study flute with Trevor Wye and Clare Southworth in Manchester. Later she continued her studies in London with Patricia Lynden, Patricia Morris and Rachel Brown. After a decade living in London combining orchestral playing, chamber music and teaching she moved to Sweden where she was co-principal with Camerata Calluna Chamber Orchestra 2000-2010. Her commitment to chamber music shows in the vast numbers of performances at societies and festivals throughout Europe. One of her 500 concerts for "Live Music Now" was a performance at Buckingham Palace celebrating Sir Yehudi Menuhin. Pierre-Yves Artaud First Prize for flute and First Prize for chamber music at the Paris Conservatoire, Pierre-Yves Artaud has played all over the world. -
BFS-1991-12-Journal.Pdf
The Journal of the British Flute Society President James Galway Vice Presided Albert Cooper from 1st January 1991 Area Representatives Council Susan Milan Cha~rrrran AvonISomerset Elizahetlr Taylor Srcrelary Carole Timms, 'Marlow', Garstone Lane, Blagdon, Avon Judith Fitton Edrlor BSI8 6TG Tel: 0761 62348 Jenny M1ray Me~nberrhipSerretary Birmingham Jonathan Myall Trcasztrrr Margaret Lowe, 10 Navenby Close, Shirley, Solihull, West Adl-ian Brett Er,m/s CO-07-dininntor Midlands BN90 ILH Tel: 021 474 3549 Juliet Keeling Asossln?zl Events CO-wdznnlor Antlreur Thomson Inirnm/ionnl Flulr Socit-lier CO-ordinalor Cardiff Julie Wright Arra Reps. CO-ordinalor Iau Provis, 13 Werfa Street, Roath Park, Cardiff CF2 5EW Tel: Liz Goodwin Edrlvr of Flzrlei~tar 0222 489061 Robin Soldan Ed~rcalionalRcpreserllaltr~e Cleveland Susan Bruce Hon. Legal Adulvirrr Lee Hannah. Fardeanside. Worsall, Yarm, Cleveland Tel: Carolyn Nelson 060981 694 ,Janicc Norman Cumbria Davicl Nicholson ,]anet McCallunr, 9 Droomer Lane, Windermere Albert Cooper LA23 2LX Tel: 09662 661 1 Dennis Clarke Christopher Hyde-Smith East London Kate Cuzner. 52 Turnstone Close, Upper Road, Plaistow. Trevor Wye Arrh~rnsl London Tel: 071 51 1 5552 Guildford The British Flute Society was formed in January 1983 from the Clare Lund, 28 Tillingbourne Road, Shalford, Guildford constitution: GU4 8EY Tel: 0483 35865 'The objects of the Society shall be to advance the education of the public in the Art and Science of Music and in particular the Hertfordshire Art ancl Science of Flute playing in all aspects by the presentation Anne White, 22 Lys Hill Gardens, Bengeo, Hertford of public conrerts and recitals and by such other ways as the SG14 3EH Tel: 0992 586875 Society through its Council shall determine from time to time'. -
Telemann Fantasias Article
A Tribute to Telemann's Fantasias for flute The year 2020 will be remembered by all musicians as the year in which everything stopped. Live music has been halted in its tracks and with the Covid-19 virus introducing the necessity for social distancing, ensemble music of any kind is beyond us all. But optimism appears to be on the rise as alternatives to our normal ways of life are found. One simple truth is that solo music making is now a fact of life. And so, with no live concert to look forward to in the immediate future, I find myself naturally drawn back to a volume that has been a source of inspiration to me ever since I was introduced to it aged 16 all those years ago: Georg Philipp Telemann's 12 Fantasias for solo flute. These short, two-page works for solo flute can easily be played on any treble wind instrument and, as an oboist, I have long since ceased to worry about stealing them from my flute playing friends - after all they fit perfectly on the oboe and surely we can all share these mini-masterpieces. They are the greatest studies ever written, they are wind players' answers to the Bach cello suites, they are musical gems, technical gymnasiums, tonal guides and imaginative playgrounds. In fact, these works have travelled with me as treasured companions on tours, trips and holidays over the years - a perfect way to test my playing and musicianship (not to mention my reed) in all circumstances. In addition to performing them, I have played them tentatively in hotel rooms when on tour, in the hope that my colleagues in the rooms next door will forgive me because the music is so good. -
Exploration of Empfindsamer Stil: the Creation and Performance of an Informed Performance Edition of CPE Bach's Concerto in D Minor for Flute and Orchestra
University of Northern Iowa UNI ScholarWorks Honors Program Theses Student Work 2016 Exploration of Empfindsamer stil: The creation and performance of an informed performance edition of CPE Bach's Concerto in D minor for flute and orchestra Emily C. Bicknese University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2016 Emily C. Bicknese Follow this and additional works at: https://scholarworks.uni.edu/hpt Part of the Music Performance Commons, and the Music Theory Commons Recommended Citation Bicknese, Emily C., "Exploration of Empfindsamer stil: The creation and performance of an informed performance edition of CPE Bach's Concerto in D minor for flute and orchestra" (2016). Honors Program Theses. 257. https://scholarworks.uni.edu/hpt/257 This Open Access Honors Program Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Honors Program Theses by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. EXPLORATION OF EMPFINDSAMER STIL: THE CREATION AND PERFORMANCE OF AN INFORMED PERFORMANCE EDITION OF CPE BACH’S CONCERTO IN D MINOR FOR FLUTE AND ORCHESTRA A Thesis Submitted in Partial Fulfillment of the Requirements for the Designation University Honors with Distinction Emily C Bicknese University of Northern Iowa December 2016 This Study by: Emily Bicknese Entitled: EXPLORATION OF EMPFINDSAMER STIL: THE CREATION AND PERFORMANCE OF AN INFORMED PERFORMANCE EDITION OF CPE BACH’S CONCERTO IN D MINOR FOR FLUTE AND ORCHESTRA has been approved as meeting the thesis or project requirement for the Designation University Honors with Distinction ____________ ______________________________________________________ Date Dr. -
2018 01 RCM Flute Printed Programme.Pub
Programme This programme spans the late Baroque and early Classical periods. The music ex- emplifies the poise and elegance associated with transition from the Baroque to the Classical period. Amelia Shakespeare - Baroque Flute Tilford Bach Society Mafalda Ramos - Baroque Flute Aidan Phillips - Harpsichord Carl Philipp Emanuel Bach (1714-1788) Sonata in A minor for Solo Flute (H.562) Poco Adagio; Allegro; Allegro CPE Bach was a son of the great Johann Sebastian Bach. Arguably the most tal- ented member of the family, he survived his father by thirty-eight years. Despite his originality and adventurous "modern" style, he never forgot what his illustrious father had taught him. For a time, was chief harpsichordist to Frederick the Great, King of Prussia (1712-1786). The King was a keen flutist and composer, whose flute master and official composer was J. J. Quantz. This solo Sonata, published in 1763, is among the composer's finest works for flute. Wilhelm Friedemann Bach (1710-1784) Sonata in E minor for Flute and Continuo (WFB.17) Allegro ma non tanto; Siciliano; Vivace Of JS Bach’s two eldest sons, Wilhelm Friedeman was less well known and not as successful professionally as CPE Bach but was said to have been Bach’s favourite. His E minor Sonata is a rhythmically vivacious work. The music has a distinctive character with technical challenges and a lovely sense of melodic line throughout. Carl Friedrich Abel (1723-1787) Sonata in C major for Flute and Continuo (Op.6) Adagio; Allegro; Vivace Carl Abel was a composer and a renowned player of the. -
STOUR MUSIC 2021 Barbaric Beauty
STOUR MUSIC 2021 Barbaric Beauty London Handel Players Sponsored by James Bird & The Rothermere Foundation Sunday 20th June 2.30pm & 4.30pm BOUGHTON ALUPH CHURCH Programme France and the fascination for lands afar Lully Marche pour la Ceremonie des Turcs from Le Bourgeois Gentilhomme Corrette Les Sauvages from Concerto Comique No.25 in G minor Rameau Contredanse en Rondeau from Les Boréades Polish bagpipes and Barbaric Beauty Telemann Paris Quartet No.3 in G major, Modéré Schmelzer Trio Sonata Der Polnische Sackpfeifer Telemann Hanasky from Suite in E major, TWV 55:E1 Spices of the Orient, Spanish folly and curiosities from the Canaries Vivaldi Flute Concerto in D minor Il Gran Mogul, Larghetto Corelli Violin Sonata Op.5 No.12 in D minor La Follia Scarlatti Keyboard Sonata in A major K.24, Allegro Murcia and Sanz Canarios From the far-flung corners of the Earth - the British Isles Matteis Ground after the Scotch Humour Purcell Hornpipes from Ayres for the Theatre, ‘The Married Beau’ Scottish tunes: My Time! O ye muses Miss Mary Gordon of Braid Lochail’s away to France Hon’ble Mrs Maules Reel Performers Rachel Brown flute and recorder Adrian Butterfield violin Oliver Webber violin Rachel Byrt viola Gavin Kibble cello Silas Wollston harpsichord Programme note Many composers of the baroque period were fascinated by the music and culture of foreign lands and this programme brings together examples that demonstrate the huge variety of styles and influences available to them at that time. The programme begins in France with a grand yet satirical show of pomp and ceremony in which Lully conjures up the allure of Turkish royalty for Molière’s upwardly aspirational Bourgeois Gentilhomme. -
Lutist Quarterly Volume Xxxvi, No
VOLUMEXXXVI , NO . 4 S UMMER 2 0 1 1 THE lut i st QUARTERLY The Case of the Lost Flute Concerto The Sonatas of Eugène Walckiers Mercedes Smith: Two Weeks, Two Winning Performances Unity Through Diversity: Many Flutists, One World 39th Annual NFA Convention in Charlotte, North Carolina THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXVI, NO. 4 SUMMER 2011 DEPARTMENTS 11 From the Chair 65 NFA News 13 From the Editor 68 Notes from Around the World 16 High Notes 76 New Products 20 Flute Shots 80 Reviews 42 39th NFA Convention: 91 From the 2012 Convention Unity Through Diversity: Program Chair Many Flutists, One World 92 NFA Office, Coordinators, 59 Across the Miles Committee Chairs 62 Honor Roll of Donors to the NFA 97 Index of Advertisers 22 FEATURES 22 The Case of the Lost Flute Concerto by Andrew Woolley It wasn’t Scotland Yard, and he isn’t Sherlock Holmes, but a scholar’s discovery in Scotland of a flute concerto by Antonio Vivaldi, previously believed lost, is great news for flutists and historians alike. 26 The Sonatas of Eugène Walckiers by Ursula Pešek (translated by Traute Marshall) The last five works by the French flutist and composer, including one plucked from obscurity, offer modern flutists outstanding additions to the repertoire of original flute sonatas. This is the first of a two-part article, which continues in the Fall 2011 issue with a focus on the composer himself, dubbed by author R.S. Rockstro “a man of real genius.” 34 Two Weeks, Two Winning Performances by Kyle Dzapo Conscientious practice sessions, careful planning, and frequent recitals helped Mercedes Smith achieve her one-two punches in competition wins and an early jumpstart to a promising career as a flutist. -
Album Booklet
A Salon Opera Flauguissimo Duo A Salon Opera Niccolò Paganini (1782–1840) Mauro Giuliani (1781–1829) 1. Cantabile in D major, MS 109, Op. 17 [3:26] Grande Serenade, Op. 82 10. Theme & Variaons [4:22] Franz Schubert (1797–1828) 11. Menueo & Trio [3:18] 2. Frühlingstraum, D.911, Op. 89 No. 11 [3:00] 12. Marcia [4:19] from Die Winterreise, arr. Flauguissimo Duo 13. Allegro brillante [4:57] Flauguissimo Duo 3. An die Nachgall, D.497, Op. 98 No. 1 [1:54] arr. Flauguissimo Duo 4. Heidenröslein, D.257, Op. 3 No. 3 [1:44] Total playing me [51:03] Yu-Wei Hu flute arr. Flauguissimo Duo Johan Löfving guitar Francesco Molino (1768/75–1847) Nourno II, Op. 38 for flute or violin and guitar Original French Tribout guitar, 1850, anonymous, restored by James Westbrook 5. Andante cantabile [2:36] Eight-keyed flute by Marn Wenner, 2011, aer August Grenser, c. 1790 6. Rondo: Allegro [2:59] Fernando Sor (1778–1839) 7. Introducon and Variaons on a Theme of Mozart, Op. 9 [8:40] Introducon: Andante Largo – Theme: Andante Moderato – Variaon I – Variaon II – Variaon III – Variaon IV – Più mosso – Variaon V – Più mosso – Coda Christoph Willibald Gluck (1714–1787) 8. Dance of the Blessed Spirits [5:30] from Orfeo ed Euridice, Wq. 30 arr. Flauguissimo Duo About Flauguissimo Duo: Johann Kaspar Mertz (1806–1856) [4:11] ‘Flaust Yu-Wei Hu was sublime and her handling of Gluck and Paganini, 9. Tarantelle, Op. 13 No. 6 accompanied sensively by guitarist Johan Löfving, was my personal highlight’ Early Music Today ‘[...] Young arsts Flauguissimo Duo shine [...] They gave a fine performance that held our aenon throughout’ Classical Guitar Magazine A Salon Opera had their real career in the army. -
Ian Andersonanderson
VOLUME 45, NO. 3 SPRING 2020 THE LUTIST QUARTERLY LearningLearning byby Doing:Doing: IanIan AndersonAnderson Rachel Brown and Baroque Movement THE OFFICIAL MAGAZINE OF Upper Extremity Flute Injuries Remembering Lois Schaefer FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLU TE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+FLUTE+ARTISTRY+FLU TE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ART ISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+FLUTE+ ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ARTISTRY+FLUTE+ART