![]() ![]() The revival of interest in the recorder in the twentieth century was stimulated by Arnold Dolmetsch, who began making copies of surviving early recorders in 1919. Italian instruments are also infrequent, but three surviving voice flutes from Venice bear the maker's name "Castel", all with the initial "N". French instruments are scarcer, but one voice flute survives from the Paris workshop of Pierre Naust, and an instrument in the Bate collection in Oxford, which formerly belonged to Edgar Hunt, bears the maker's name Hail, who may have been French. Montagu 2002, 152Ĭontinental examples also exist, from the Nuremberg families of Denner (one each by Jacob and Johann Christoph Denner) and Oberlender, and three instruments by one or the other of the father-and-son Amsterdam makers Willem Beukers, Sr. There are other surviving English voice flutes from Thomas Stanesby, Sr., Joseph Bradbury, Thomas Cahusac, and a very late example by (probably) Valentine Metzler, as well as one by the Dublin maker John Neale. At least two of these instruments appear to be "left handed"-that is, they are meant to be played with the right hand uppermost. A more liberal count, including instruments possibly but not certainly by Bressan puts the number of voice flutes at sixteen, out of a total of 77 surviving recorders. (Peter) Bressan, accounting for a fifth of the total of 76 (to 78) surviving recorders from his workshop. The largest number by a single maker are the 15 (or 16) voice flutes (at a conservative count) by the London maker P. Eighteenth-century instruments and makers Ī significant number of historical voice flutes survive in museums and private collections. It is also probable that the voice flute is the type of recorder Bach intended for the obbligato part in Cantata 152, Tritt auf die Glaubensbahn, where the pitch of Bach's organ (the Chorton or choir pitch) was a minor third higher than the Cammerton (chamber pitch) of the other instruments. Important Baroque works composed specifically for the voice flute include the first four suites (in A major, D major, E minor, and B minor) from a set of six with accompaniment of archlute and viola da gamba, published in 1701 by Francis (Charles) Dieupart, a Quintet in B minor for the unusual combination of two voice flutes and two transverse flutes with continuo, attributed to one of the Loeillets in a Rostock manuscript, and the two obbligato recorder parts in Bach's cantata Komm, du süße Todesstunde, BWV 161. Parts intended for this instrument were also often written in transposed notation, so the player could imagine he was playing an ordinary alto in F. Although the rather large number of surviving eighteenth-century voice flutes suggests this may have been a common practice at that time, there is little documentary evidence to support the idea. Imagining this clef in place of the treble clef and using the normal F-alto fingerings on a voice flute renders music composed for flute or violin in the original key. The usual clef used for recorder parts was the French violin clef, with G on the bottom line of the staff. It offered an alternative instrument for amateurs to play music written for the transverse flute, since both instruments are at the same pitch. The voice flute was a popular size of recorder in the eighteenth century, especially in England. In it, he longs for the love of Pamina, his supposed white counterpart and opposite.A Baroque voice flute after Bressan History Some critics have even asked why opera houses perform this opera at all.Ĭonsider this aria below that Monostatos sings (“Alles fühlt der Liebe Freuden”), which was intended to be a comedic number. ![]() Since the postwar period, opera companies have had difficulties figuring out how to portray this character. He desires the heroine of the opera, Pamina, who Mozart portrays as beautiful, pure, and white, but his pathetic love for her cannot be requited. His name alone – Greek for “standing alone” – implies that he is an outsider or an outcast. He appears in most productions as grotesque, dirty, and buffoon-like, incapable of being truly loved by another. Being Black, Monostatos, the overseer of Sarastro’s temple, is not to be trusted and has dark and evil tendencies. Described as a Moor, the character of Monostatos in Wolfgang Amadeus Mozart’s opera, The Magic Flute (1791) represents an amalgam of racist stereotypes surrounding Blackness in the late eighteenth century. ![]()
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