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Joachim Quantz

ompendium covering musical taste and execution practical on any instrument. Only five of the eighteen chapters solely concern the flute. In contrast to other method books of its time, Quantz did not promise a speedy mastery of the instrument, but instead wrote his essay to train a skilled and intelligent musician, and not just a mechanical flute-player. The tutor was written for the two-keyed flute that Quantz invented, which used separate fingerings for sharps and flats, he rarely hinted how to use these keys, since most flutists used one-keyed flutes at the time. His tonguing instructions were very sophisticated, including double-tonguing, which he was the first to mention in writing. For non-flutists, included are tips on ornamentation, reflecting French taste, and embellishment, reflecting Italian. He discusses orchestral seating plans, bowing, and tempo markings. In the last part of the book, Quantz evaluates the characteristics of Italian, German, and French styles, giving the reader tools for assessment of both performers and compositions. In addition to these accomplishments, Quantz was also a flute maker. Beginning in 1739, he built as many as eighteen instruments for Frederick the Great. Quantz flutes are different from other flutes of the period in that his was a two-keyed flute. This second key, for D#, was an addition to the already present Eb key. The distinction between these and other enharmonic pairs is central to Quantzs method of playing in tune. The other invention that Quantz is known for was the division of the headjoint into two separate pieces that slide together, to allow for more accurate tuning. The Quantz flute was not very influential during its time. It was well known in Berlin, but since Quantz was not a commercial flute-maker, few outside the city ever knew of its existence. Works...

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