MASTER CLASS PROPOSALS
PROPOSALS 1
BAROQUE AND CLASSICAL FLUTE:
PERFORMANCE PRACTICE AND REPERTOIRE
The master class is aimed to involve students in performance practice of 18° century repertoire on historical flutes.A theoretical introduction is planned, by listening and looking at different instruments; this will be very helpful for understanding the development of the flute. The practical part will consist in individual lessons for students (attendance of more players for chamber music repertoire will be welcome). Students who will take part to the master class but don’t own an historical flute, can attend the lessons by playing on their modern instrument.. A copy of a baroque flute will be available for partecipants. Choice of repertoire is totally free: students who want to attend practical lessons have to prepare in advance some 18° century solo or chamber music pieces.
PROPOSALS 2
ITALIAN MUSIC FOR TRAVERSE FLUTE
OF THE FIRST HALF OF 18° CENTURY
It is a common place to consider the trasverse flute as a musical instrument that was not much used in Italy until the thirties of the 18° century. The workshop aims at going against this opinion by analysing the musical production of the first half of 18° century in some of the main Italian areas, such as Rome, Naples and the Venitian region. The workshop is addressed to every student that is interested; it is constituted by an introductory conference and by practical lessons on the music that will be studied by the students. The topic that will be studied in depth will be used both as the subject of the introductory conference, and as indications of the repertoire for the participants. The participation of players of others instruments is welcome in order to organize chamber music groups.
PROPOSALS 3
ANTONIO VIVALDI’S CONCERTI DA CAMERA
FOR RECORDER AND TRAVERSO
The chamber concerts in which Vivaldi has used the recorder or the traverso are 21 compositions for diverse instruments in a concertante style. They have relevant and innovative features for the period in which they have been written: some of them have a rather virtuoso style. The introductory lecture aims at giving the contextual frame of the writing of the Vivaldi compositions from the point of view of the musical evolution both of the recorder and the flute; the issues about the datation of these works will be dealt with, as well as the subsequent elaborations that the same Vivaldi has produced starting from this works. The workshop is composed by an introductory lecture and by classes of chamber music on what the students have prepared by themselves.
PROPOSALS 4
J.S. BACH’S COMPOSITION FOR FLUTE:
MANY OPEN QUESTIONS
There are still many open questions about Bach’ flute music, namely: Are they all from Bach? When did he wrote them ? For whom? Are they originally conceived for the flute? Works for flute are few in comparison of what he wrote for violin, harpsichord or organ, but flute is the sole wind instrument that has some chamber music written by Bach! The 7 Sonatas and the Solo represent different style in witing from both the techinical and the musical point of view; probably they were written for different flutists that were playing different flutes. The great interest in analizing them is that they are composed all along Bach’s life in different context and for different addresses. It’s important to keep in mind that the flute , in the first part of 18° century, had a big development: from 3 joints instruments we go to 4 joints, the bore size and taper changes, there were a lot of experiments and many makers all around Europe. It’s realistic to assume that Bach met many flutists and heard different instruments during his life. We’ll try to understand something more about all these problems through the analysis of Bach’s autographs and other handwriting of his flute works , toghether with the practical lessons on this repertoire performed by the students.