Joachim Quantz, Music, College Term Papers.com


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Joachim Quantz

Joachim Quantz Quantz was on of the first professional flute players in 18th century Europe. He began musical training under his uncle in 1708, and learned to play most of the string family as well as the oboe and the trumpet. After joining the Dresden town band, Quantz was offered a position as oboist in the Polish chapel of Augustus II, Elector of Saxony and King of Poland. Quantz found little opportunity for advancement as an oboist, and turned to the flute in 1719. P. G. Buffardin, the French flutist, was his first teacher. In his autobiography, Quantz credited J. G. Pisendel with influencing his musical style the most. Pisendel was a leading representative of ‘mixed taste,’ a mix of French and Italian influences. Pisendel’s effect on his composition can be seen in Quantz’s sonatas and trio sonatas, which follow the four-movement arrangement of the Italian church sonata, but integrate French dances. Quantz studied counterpoint in Italy, and also visited France and England. Shortly after, in 1728, he was promoted to a regular member of the Dresden court chapel on flute, and no longer had to double on oboe. That same year, on a visit to Berlin Quantz met Frederick the Great, and afterward returned to the Prussian court twice a year to give the Prince flute lessons. In 1740, when Frederick became King of Prussia, he offered Quantz over twice the amount that he was being paid in Dresden, along with exemption from duties in the opera orchestra, and an agreement that Quantz would only take orders from the King himself. In 1741, Quantz moved to Berlin, where his only duties were to oversee the King’s nightly private concerts, and to compose works for such concerts. Quantz alone was allowed to critique the King’s flute playing. It was this time in Berlin that allowed Quantz to write his masterpiece, Essay Toward a Method for Playing the Transverse Flute. This method book was not only a method for flutists, but a compendium 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 Quantz’s 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. Bibliography:

Word Count: 627