Looking through the various sections of the Forum, I could not find anything specifically relating to repertoire.
For example, I have just discovered and started to work on the Pergolesi (attrib!) flute concerto in G. I would welcome the opportunity to compare notes with any other Fluteland members who are either working on this or even those who have it down!
We could compare notes on which sections we find most tricky, discuss the various editions (I have the IMC edition and also bought the Concerto in D which they publish), phrasing, articulation, tempo, etc etc.
I particularly like Italian Barogue - but I am sure there would be scope for all types of flute repertoire - any interest out there?
Would a specific section on repertoire be useful?
Moderators: Classitar, pied_piper, Phineas
Would a specific section on repertoire be useful?
Sankyo CF201, Trevor James 'Privilege', Chinese Dizi . . . oh, and a Theremin!
I would be in for some good ol' Baroque interpretation talking! I studied Bach a lot in college, but continue to find so many different and diverse opinions on it.
I think it could also be a neat idea to have a piece of the month (for various levels of course) and work on it (or re-work) and discuss with others. Kinda like a book club, but for music.
I think it could also be a neat idea to have a piece of the month (for various levels of course) and work on it (or re-work) and discuss with others. Kinda like a book club, but for music.
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
Oh Geez.... we could go on about Baroque interpretation as much as we go around in circles about the silver vs. gold debate!
I personally play Baroque music with the idea of bringing out the harmonic structure and form. I don't get too caught up in articulations and ornaments because (from what I have learned) a lot of the time these were always done to the taste of the performer. Furthermore, they often changed these aspects from performance to performance. I generally just use articulation and ornaments to pull out the various lines in the counterpoint of the music (in addition to emphasizing the harmonic development).
For trills, if I am coming from above I start on the higher note. From below, I start from below (unless it is cadential), and if it is already on the note I just do a normal trill. I look at the harmony to determine if the trill is also an apoggiatura.
I personally play Baroque music with the idea of bringing out the harmonic structure and form. I don't get too caught up in articulations and ornaments because (from what I have learned) a lot of the time these were always done to the taste of the performer. Furthermore, they often changed these aspects from performance to performance. I generally just use articulation and ornaments to pull out the various lines in the counterpoint of the music (in addition to emphasizing the harmonic development).
For trills, if I am coming from above I start on the higher note. From below, I start from below (unless it is cadential), and if it is already on the note I just do a normal trill. I look at the harmony to determine if the trill is also an apoggiatura.