The work is comprised of three interrelated essays that examine the education of the solo musician, the art of accompaniment, and forms and style. Quantz provides detailed treatment of a wide range of subjects, including phrasing, ornamentation, accent, intensity, tuning, cadenzas, the role of the concertmaster, stage deportment, and techniques for playing dance movements. Of special interest is a table that relates various tempos to the speed of the pulse, which will help today's musicians solve the challenge of playing authentic performance tempos in Baroque music. This edition includes 224 musical examples from Quantz's original text and features a new introduction by translator Edward R. Reilly that considers recent scholarship on Quantz's significant role in eighteenth-century musical activity.
On Playing the Flute vividly conveys the constancy of musical life over time and remains a valuable guide for contemporary musicians.
| Introduction | ix | |
| Introduction to the New Edition | xxxv | |
| Introduction to the Reissue | xxxix | |
| Preface to the Translation | xliii | |
| Essay of a Method for Playing the Transverse Flute | 1 | |
| Dedication | 3 | |
| Preface | 7 | |
| Introduction. Of the Qualities Required of Those Who Would Dedicate Themselves to Music | 11 | |
| I. | Short History and Description of the Transverse Flute | 29 |
| II. | Of Holding the Flute, and Placing the Fingers | 36 |
| III. | Of the Fingering or Application, and the Gamut or Scale of the Flute | 39 |
| IV. | Of the Embouchure | 49 |
| V. | Of Notes, their Values, Metre, Rests, and Other Musical Signs | 60 |
| VI. | Of the Use of the Tongue in Blowing upon the Flute | 71 |
| Section I | Of the Use of the Tongue with the Syllable ti or di | 71 |
| Section II | Of the Use of the Tongue with the Word tiri | 76 |
| Section III | Of the Use of the Tongue with the Word did'll, or the so-called Double Tongue | 79 |
| Supplement: Several Remarks for the Use of the Oboe and Bassoon | 85 | |
| VII. | Of Taking Breath, in the Practice of the Flute | 87 |
| VIII. | Of the Appoggiaturas, and the Little Essential Graces Related to Them | 91 |
| IX. | Of Shakes | 101 |
| X. | What a Beginner Must Observe in His Independent Practice | 109 |
| XI. | Of Good Execution in General in Singing and Playing | 119 |
| XII. | Of the Manner of Playing the Allegro | 129 |
| XIII. | Of Extempore Variations on Simple Intervals | 136 |
| XIV. | Of the Manner of Playing the Adagio | 162 |
| XV. | Of Cadenzas | 179 |
| XVI. | What a Flautist Must Observe if he Plays in Public Concerts | 196 |
| XVII. | Of the Duties of Those Who Accompany or Execute the Accompanying or Ripieno Parts Associated with a Concertante Part | 205 |
| Section I | Of the Qualities of a Leader of an Orchestra | 206 |
| Section II | Of the Ripieno Violinists in Particular | 215 |
| Section III | Of the Violist in Particular | 237 |
| Section IV | Of the Violoncellist in Particular | 241 |
| Section V | Of the Double Bass Player in Particular | 246 |
| Section VI | Of the Keyboard Player in Particular | 250 |
| Section VII | Of the Duties That All Accompanying Instrumentalists in General Must Observe | 266 |
| XVIII. | How a Musician and a Musical Composition Are to Be Judged | 295 |
| Bibliography | 345 | |
| Appendix | 354 | |
| Bibliography II | 377 | |
| Bibliography III | 383 | |
| Index of the Most Important Matters | 395 |
Anonymous
Posted July 27, 2010
No text was provided for this review.
Overview
The work is comprised of three interrelated essays that examine the education of the ...