On Playing the Flute

Overview

Johann Joachim Quantz's On Playing Flute has long been recognized as one of the most significant and in-depth treatises on eighteenth-century musical thought, performance practice, and style. This classic text of Baroque music instruction goes far beyond an introduction to flute methods by offering a comprehensive program of studies that is equally applicable to other instruments and singers.

The work is comprised of three interrelated essays that examine the education of the ...

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Overview

Johann Joachim Quantz's On Playing Flute has long been recognized as one of the most significant and in-depth treatises on eighteenth-century musical thought, performance practice, and style. This classic text of Baroque music instruction goes far beyond an introduction to flute methods by offering a comprehensive program of studies that is equally applicable to other instruments and singers.

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.

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Editorial Reviews

Booknews
<:st>Cited in This is the new edition of a classic text on Baroque music instruction by virtuoso musician, teacher, flute maker, and tutor, Johann Joachim Quantz (1697-1773). First published in both German and French editions in 1752, it offers a program of studies that is applicable not only to the flute, but to other instruments and singers as well. Three interrelated essays examine the education of the solo musician, the art of accompaniment, and forms and style. Quantz treats 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. Contains 224 musical examples, a table that relates tempi to the speed of the pulse, and a new introduction by translator Edward R. Reilley (emeritus, Vassar College music department). Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9781555534738
  • Publisher: Northeastern University Press
  • Publication date: 3/1/2001
  • Edition description: 2nd ed.
  • Edition number: 2
  • Pages: 423
  • Product dimensions: 9.10 (w) x 5.90 (h) x 1.10 (d)

Meet the Author

Johann Joachim Quantz (1697-1773), son of a blacksmith, enjoyed a long and successful career as a virtuoso soloist and orchestral performer on a variety of instruments. He was also a composer, an exceptional teacher and writer, and a flute maker. Tutor and Royal Prussian Chamber Musician to Frederick the Great, Quantz studied in Dresden and traveled throughout Europe to refine his musical skills and knowledge. Edward R. Reilly is Professor of Music, Emeritus, at Vassar College. He is the author of Quantz and His Versuch: Three Studies.
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Table of Contents

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
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