FACULTEIT Letteren en Wijsbegeerte The simple system flute between 1790 and 1850, its performance practice and chamber music repertoire with pianoforte and / or strings Proefschrift ingediend met het oog op het behalen van de graad Doctor in de Kunsten Anne Pustlauk Brussel, 2016 Promotor: Dr. Peter Swinnen Artistiek Promotor: Dr. Barthold Kuijken Table of Contents Preface.................................................................................................................................................. 3 Introduction.......................................................................................................................................... 5 Pillar 1: The instrument – flute types................................................................................................... 6 Research on the instruments............................................................................................................ 6 Results..............................................................................................................................................7 France..........................................................................................................................................7 England....................................................................................................................................... 8 Germany......................................................................................................................................9 Austria.......................................................................................................................................10 Italy............................................................................................................................................11 Belgium, The Netherlands, Denmark, Spain............................................................................ 12 Summary instruments.................................................................................................................... 14 The keys.........................................................................................................................................15 1) Avoiding cross-fingerings..................................................................................................... 15 2) Extend the range................................................................................................................... 17 3) Possibility of playing pure trills............................................................................................17 Special keys...............................................................................................................................18 Pillar 2: Mastery of the instrument – The correct style...................................................................... 19 The methods...................................................................................................................................19 1) Tone........................................................................................................................................... 20 Tone Exercises.......................................................................................................................... 21 2) Fingerings..................................................................................................................................22 The interplay of key and fingering............................................................................................25 3) Intonation...................................................................................................................................27 4) Articulation................................................................................................................................29 Single tonguing......................................................................................................................... 30 Double tonguing........................................................................................................................35 Triple tonguing..........................................................................................................................37 5) Breathing................................................................................................................................... 38 Breathing technique.................................................................................................................. 38 Different kinds of breathing...................................................................................................... 40 Musical phrasing....................................................................................................................... 40 6) Subdivision of the bar................................................................................................................43 7) Keeping the tempo.....................................................................................................................45 Pillar 3: Performance practice – The fine style.................................................................................. 47 1) Fingerings..................................................................................................................................47 2) Tempo Rubato............................................................................................................................51 3) Articulation................................................................................................................................52 4) Embellishments......................................................................................................................... 55 Appoggiatura.............................................................................................................................55 Trill............................................................................................................................................63 Turn........................................................................................................................................... 66 Gliding...................................................................................................................................... 70 Vibrato.......................................................................................................................................75 Discretionary embellishments...................................................................................................80 Pillar 4: Repertoire............................................................................................................................. 84 1 Concert repertoire.......................................................................................................................... 88 1) German speaking Countries...................................................................................................... 91 2) Bohemia.....................................................................................................................................92 3) Italy............................................................................................................................................92 4) England......................................................................................................................................92 5) France........................................................................................................................................ 93 6) The Netherlands, Belgium, Spain..............................................................................................94 Pillar 5: Practicing.............................................................................................................................. 95 Pillar 6: My path.................................................................................................................................96 Résumé............................................................................................................................................... 97 Bibliography....................................................................................................................................... 99 Selected historical resources..........................................................................................................99 Selected modern resources...........................................................................................................101 Picture Credits and Copyright.......................................................................................................... 102 2 Preface The present portfolio is a summary of the results of theoretical research that was done for my doctorate. Theoretical research was required in order to complete the primary object of my doctorate: artistic research. This included experimenting with sound, fingerings, musical language, time and different types of flutes during practicing and in rehearsals with other musicians. It also included consulting flute makers, flute collectors and musicians. The results of the artistic research can be heard in concerts, recordings and lecture performances. Further results of the theoretical research can be found on my website http://anne- pustlauk.de/research-introduction/. It provides