[49] Thus, it is often necessary for a recorder player to produce long, controlled streams of air at a very low pressure. Some recorder makers produce instruments at pitches other than the three standard pitches above, and recorders with interchangeable bodies at different pitches.[45][46]. The widely spaced doubled seventh hole persisted in later instruments. Lo csakan godette di una notevole popolarità a Vienna e in tutta l'area austro-ungarica: fra il 1807 e il 1845 furono pubblicati oltre 400 brani di musica per csakan (solo o con accompagnamento di chitarra o pianoforte), per lo più destinati a musicisti dilettanti. In Germanic countries, the equivalent of the same term, Quartflöte, was applied both to the tenor in C4, the interval being measured down from the alto in F4, and to a recorder in C5 (soprano), the interval of a fourth apparently being measured up from an alto in G4. The csakan's repertoire has not yet been fully explored. follows the exact size configuration suggested by Praetorius: stacked fifths up from the basset in F3, and down a fifth then a fourth to bass in B♭2 and great bass in F2. His fingering chart is notable for two reasons, first for describing fingerings with the 15th produced as a variant on the 14th, and for using the third finger of the lower hand as a buttress finger, although only for three notes in the lower octave. Famously, Henry VIII of England was an avid player of the recorder, and at his death in 1547 an inventory of his possessions included 76 recorders in consorts of various sizes and materials. Indeed, in most European languages, the first term for the recorder was the word for flute alone. Recorder making declined with the instrument's wane in the late 18th century, essentially severing the craft's transmission to the modern age. As a result, covering the fourth hole affects the pitch more than covering any of the holes below it. He also shows the different "registers" of consort possible, 2′ (discant, alt, and tenor), 4′ (alt, tenor, and basset), and 8′ (tenor, basset, and bass) (see also Nomenclature). Additionally, Tarasov reports that some recorders by Baroque makers were modified, around 1800, through the addition of keys, including a J. C. Denner (1655–1707) basset recorder in Budapest and an alto by Nikolaus Staub (1664–1734) with added G♯ keys, like the D♯ key on a baroque two-key flute. F3–C4–C4–G4, or play six-part music by doubling the upper size and tripling the middle size, e.g. Octave clefs may be used to indicate the sounding pitch, but usage is inconsistent. Compra il libro Dedicato al Flauto Dolce - I Trilli di Celestino Dionisi; lo trovi in offerta a prezzi scontati su Giuntialpunto.it The next treatise comes from Venice: Silvestro Ganassi dal Fontego's (1492–mid-1500s) Opera Intitulata Fontegara (1535), which is the first work to focus specifically on the technique of playing the recorder, and perhaps the only historical treatise ever published that approaches a description of a professional or virtuoso playing technique. With German fingering, this becomes a simpler 0 123 4 – – –. The fingering 0123456 sounds at a higher pitch because the seventh hole and the bell both release air, creating a low pressure node at the seventh hole. John Mansfield Thomson, Anthony Rowland-Jones (editors): Jacqueline Sorel: Renaissance Recorders after Ganassi: Jacqueline Sorel, Baroque Alto Recorder after Stanesby, Sr, Waitzman, Daniel: "The Decline of the Recorder in the 18th Century". In epoca rinascimentale e fino alla prima metà del XVII secolo coesistevano due distinte famiglie di flauti, quella su 8' e quella su 4'[9]: la prima eseguiva la musica all'altezza reale, la seconda un'ottava sopra. On a Baroque recorder, the first, second, and third registers span about a major ninth, a major sixth, and a minor third respectively. Gli effetti espressivi ottenibili con il flauto dolce si basano quindi sull'articolazione del fraseggio (la variazione del transitorio di attacco di ciascuna nota, ottenuta con diversi "colpi di lingua"), sull'uso (sporadico) di diteggiature alternative, e su moderate variazioni di intensità sulle singole note; è invece preclusa la possibilità di ampie variazioni di intensità (piano e forte) e di effetti di crescendo e diminuendo sull'arco di frasi lunghe. Controversy aside, there is little question that these instruments are at least precursors to later instruments that are indisputably recorders. [35] Alternatively, some recorders have a bent bore that positions the windway closer to the keys or finger holes so the player can comfortably reach both. Recorders have historically been constructed from hardwoods and ivory, sometimes with metal keys. Proprio durante il Festival della canzone italiana su Vero erano uscite delle fotografie del cantante insieme ad una misteriosa ragazza, rivelatosi poi essere la sua compagna.. A passeggio con il padre Alessandro Modern composers of great stature have written for the recorder, including Paul Hindemith, Luciano Berio, Jürg Baur, Josef Tal, John Tavener, Michael Tippett, Benjamin Britten, Leonard Bernstein, Gordon Jacob, Malcolm Arnold, Steven Stucky and Edmund Rubbra. Le taglie del flauto dolce in quest'epoca sono quindi assai numerose (più di qualunque altro strumento coevo): gli strumenti più acuti (soprani e contralti) appartenevano alla famiglia di 4', quelli più gravi (gran bassi) alla famiglia di 8', mentre quelli intermedi (tenore e "bassetto") erano usati come strumenti gravi nella famiglia di 4' oppure come strumenti acuti nella famiglia di 8'. Today, recorder sizes are named after the different vocal ranges. 4,5 su 5 stelle 38. [69] He also adds that the position of the tongue, either extended or turned up towards the palate, can be used to improve, vary, and color notes. This ability, coupled with its open finger holes, allow it to produce a wide variety of tone colors and special effects. In area francese, come sappiamo dai trattati dell'epoca (in particolare quelli di Jacques Hotteterre), si preferiva il timbro del flauto traverso; tuttavia quest'ultimo poteva essere sostituito dal flauto dolce o dall'oboe (le sonate per strumento solo e basso continuo prevedevano anche come possibili alternative l'uso della ghironda (vielle) e della musette de cour, una piccola cornamusa). [92] They were initially popular in France, and it is from there that the flageolet first arrived in England in the seventeenth century, becoming a popular amateur instrument, as the recorder later did. Alternatively, in rare cases instruments may be equipped with a key designed to cover the bell ("bell key"), operated by one of the fingers, typically the pinky finger of the upper hand, which is not normally used to cover a hole. The vast majority of recorders manufactured today are designed to play using these fingerings, with slight variations. The instrument has tenons on both ends of the instrument, suggesting the presence of now lost ferrules or turnings. The desired instrument for the fiauti d'echo parts in BWV 1049 has been a matter of perennial musicological and organological debate for two primary reasons: first, the term fiauto d'echo is not mentioned in dictionaries or tutors of the period; and second, the first fiauto part uses F#6, a note which is difficult to produce on a Baroque alto recorder in F4. I flauti "gran bassi" sono oggi usati solo da pochissimi esecutori, e nella loro versione rinascimentale originale (ad esempio dal Wiener Blockflöten Ensemble o dall'ensemble The Royal Wind Music). by Adrian Brown, which are dispersed among various museums. This usage is not totally consistent. Air speed can also be used to influence the number of pressure nodes in a process called over blowing. In inglese è chiamato recorder, in francese flûte à bec, in tedesco Blockflöte. Storicamente era realizzato in legno, ma dagli ultimi decenni del XX secolo è utilizzata anche la plastica per i modelli più economici ad uso didattico, La polifonia vocale del XIV secolo prevedeva generalmente due o tre voci: il "tenor" (voce maschile) e il "superius" (soprano, voce bianca o di falsetto), ed eventualmente un secondo. Jay Bocock) - Marching Band spartiti da Michael Jackson e altri è al di sotto. Robert Longfield) - Orchestra spartiti da Michael Jackson e altri è al di sotto. Marissen argues that Bach was not as consistent as Power asserts, and that Bach would have almost certainly had access to only altos in F. He corroborates this with examinations of pitch standards and notation in Bach's cantatas, in which the recorder parts are sometimes written as transposing instruments to play with organs that sounded as much as a minor third above written pitch. In the 1970s, when recorder makers began to make the first models of recorders from the 16th and 17th centuries, such models were not always representative of the playing characteristics of the original instruments. Nei primi anni del XIX secolo comparve uno strumento chiamato csakan, molto simile al flauto dolce e con la stessa diteggiatura, probabilmente inventato da Anton Heberle (che lo usò per la prima volta in un concerto nel 1807). Unfortunately, however, this makes many other chromatic notes too out of tune to be usable. Patterns such as these have been used since at least the time of Ganassi (1535). In normal play, the player blows into the windway (B), a narrow channel in the head joint, which directs a stream of air across a gap called the window, at a sharp edge called the labium (C). The immediate difference in fingering is for F (soprano) or B♭ (alto), which on a neo-baroque instrument must be fingered 0 123 4–67. At the most basic level, the fingering technique of the recorder involves the sequential uncovering of the holes from lowest to highest (i.e., uncovering 7, then uncovering 7 and 6, then uncovering 7, 6 and 5, etc.) Acquista il CD album Concerti Barocchi Per Flauto Dolce di Antonio Vivaldi, Telemann Georg Philipp, Sammartini Giovanni Battista in offerta; album e dischi in vendita online a prezzi scontati su La Feltrinelli. 10000 relazioni. Gli spartiti di Thriller sono disponibili sotto. Martin Agricola's Musica instrumentalis Deudsch ("A German instrumental music, in which is contained how to learn to play ... all kinds of ... instruments"), written in rhyming German verse (ostensibly to improve the understanding and retention of its contents), provides a similar account and copies most of its woodcuts directly from Getutscht. Il flauto dolce oggi più diffuso è il soprano in do, utilizzato in genere per l'educazione musicale nelle scuole elementari e medie, benché gran parte del repertorio solistico per il flauto dolce (specificamente, quasi tutto il repertorio barocco) sia destinato al flauto contralto in fa. (These little shepherds fluting all day long ... on these small recorders, on flutes. 1694) and Bonanni (1722) which equate flautino to the flageolet. The open end of the bore facing away from the player (the "bell") may be covered to produce extra notes or effects. Alle soglie tra il Rinascimento e il barocco, sia Claudio Monteverdi (nell'Orfeo e nel Vespro della Beata Vergine) sia Heinrich Schütz inserirono il flauto (generalmente, una coppia di flauti) nell'organico di grandi opere sacre o profane, in occasionale alternanza agli strumenti acuti di più frequente utilizzo (violini, cornetti), per ottenere effetti timbrici particolari. He makes a distinction between solo playing and ensemble playing, noting that what he has said is for solo players, and that when playing with others, it is most important to match them. In this capacity, the tongue has two basic functions: to control the start of the note (the attack) and the end, or the length of the note (legato, staccato). )[6] and in Lydgate's Fall of Princes (c. 1431–1438): Pan, god off Kynde, with his pipes seuene, / Off recorderis fond first the melodies. Modern recorder parts are notated in the key they sound in. The recorder is first documented in Europe in the Middle Ages, and continued to enjoy wide popularity in the Renaissance and Baroque periods, but was little used in the Classical and Romantic periods. Also of note is the occasional use of notes outside the normal two octave compass of the recorder: the range of the solo sections is two octaves from notated F4 to notated F6, however there is a single notated C4 in the first movement of RV 444, a notated E4 in a tutti section in the first movement of RV 443 and low E4 in multiple tutti sections of RV 445. I flautisti hanno a disposizione un vastissimo repertorio di epoca rinascimentale, eseguibile con una famiglia di flauti dolci oppure insieme ad altri strumenti (broken consort): musiche di danza, fantasie e ricercari, esecuzione strumentale di madrigali e chansons. [clarification needed], The earliest known document mentioning "a pipe called Recordour" dates from 1388. Il foro più basso è disallineato rispetto agli altri, per poter essere agevolmente raggiunto dal dito mignolo; nei flauti rinascimentali, in luogo del foro più basso venivano praticati due fori alla stessa altezza, in posizione simmetrica, per permettere un eventuale uso con le mani invertite (la destra in alto, la sinistra in basso): il foro non utilizzato era sigillato con la cera. Nel corso del XVII secolo il flauto dolce fu modificato in maniera significativa: i maggiori cambiamenti costruttivi sono attribuiti alla famiglia Hotteterre, attiva a Parigi fra la metà del XVII secolo e la metà del secolo successivo. Di tanto in tanto, il flauto dolce viene anche usato nella musica pop e rock, per esempio in canzoni dei Beatles, dei Rolling Stones, di Jimi Hendrix o di Led Zeppelin. As a result, it was frequently the performers' responsibility to read parts not specifically intended for the instrument and to choose appropriate instruments. Fra i primi autori del Novecento a scrivere opere originali per flauto dolce si trovano Paul Hindemith (1932) e diversi suoi allevi, e in seguito Benjamin Britten, Edmund Rubbra, Luciano Berio, Jürg Baur, John Tavener, Malcolm Arnold, Michael Tippett, Leonard Bernstein, Erhard Karkoschka, Mauricio Kagel, Kazimierz Serocki, Gordon Jacob, Bertold Hummel. Strumenti di questo tipo sono descritti nel trattato di Mersenne (1636), ed è giunto fino a noi uno strumento rinascimentale lungo 260 cm, conservato al Museo del Mercato delle Carni di Anversa. [105] Many of these were composed by avant-garde composers of the latter half of the 20th century who used the recorder for the variety of extended techniques which are possible using its open holes and its sensitivity to articulation. Gli strumenti di epoca barocca erano costruiti in legni molto duri, come il bosso o l'ebano. Sonate Per Flauto Dolce di in offerta su La Feltrinelli. Il flauto dolce (detto anche flauto a becco o flauto diritto) è uno strumento musicale della famiglia degli aerofoni[1]. Although the recorder achieved a greater level of standardization in the Baroque than in previous periods, indeed it is the first period in which there was a "standard" size of recorder, ambiguous nomenclature and uncertain organological evidence have led to controversy regarding which instruments should be used in some "flute" parts from the period. The recorder was one of the most important wind instruments of the Renaissance, and many instruments dating to the 16th century survive, including some matched consorts. The combination of these consorts is also possible.[17]. English flageolets that may qualify as recorders are of two types: those early instruments, called "English flageolets," which were actually recorders, and 19th century instruments with seven finger holes and a thumb hole. [22][23] In 17th-century England, smaller recorders were named for their relationship to the alto and notated as transposing instruments with respect to it: third flute (A4), fifth flute (soprano; C5), sixth flute (D5), and octave flute (sopranino; F5). Johann Mattheson pubblicò dodici sonate per flauti nel 1708, e ancora dopo il 1730 Johann Christian Schickhardt pubblicò un gran numero di sonate e altre composizioni destinate al flauto dolce; ma il più vasto corpus di composizioni espressamente dedicate al flauto dolce da un singolo autore è senza dubbio quello dovuto a Georg Philipp Telemann: numerose sonate per flauto solo e basso continuo, sonate per due flauti, concerti e ouverture per uno o due flauti dolci e archi, e oltre 90 cantate che prevedono uno o più flauti dolci in organico (fra cui 13 cantate sacre per voce, flauto dolce e basso continuo). In the 1820s a csakan "in the pleasing shape of an oboe" was introduced in a "simple" form with a single key and a "complex" form with up to twelve keys like those found on contemporaneous flutes. Lo csakan era spesso costruito nella forma di un bastone da passeggio, con la testata nell'impugnatura, a somiglianza di alcuni strumenti popolari ungheresi. Like Agricola and Virdung, Ganassi takes for granted that recorders should be played in groups of four, and come in three sizes: F3, C4 and G4. Viceversa, buona parte delle sonate dell'epoca barocca per strumento a fiato solo (con o senza basso continuo) si possono eseguire indifferentemente sul flauto dolce, sul flauto traverso o sull'oboe (quest'indicazione è spesso fornita esplicitamente nel frontespizio delle raccolte dell'epoca), quindi la loro esecuzione con il flauto dolce non si deve considerare una "trascrizione", nemmeno quando essa necessita della trasposizione del pezzo una terza minore sopra, secondo la prassi indicata da Jacques Hotteterre nel 1715. Il rinnovato interesse per lo strumento, unito a questa circostanza, fece sì che lo strumento divenisse popolare come supporto didattico da utilizzare nelle scuole, soprattutto per il basso costo, la facile emissione sonora e la ridotta distanza fra i fori, che rende il flauto soprano in do adatto anche a mani molto piccole. [16] Consorts of recorders are often referred to using the terminology of organ registers: 8′ (8 foot) pitch referring to a consort sounding as written, 4′ pitch a consort sounding an octave above written, and 16′ a consort sounding an octave below written. Some recent researchers contend that some 19th century duct flutes are actually recorders. ◐ means half-cover. According to Virdung, the configurations F–C–C–G or F–C–G–G should be used for four-part music, depending on the range of the bass part. [20] Modern nomenclature for such recorders refers to the instruments' relationship to the other members of consort, rather than their absolute pitch, which may vary. Starting in the early 1800s, a number of innovations to the flageolet were introduced, including the addition of keys to extend its range and allow it to more easily play accidentals. For the first and last movements of the concerto, two opinions predominate: first, that both recorder parts should be played on alto recorders in F4; and second, that the first part should be played on an alto recorder in G and the second part on an alto in F. Tushaar Power has argued for the alto in G4 on the basis that Bach uses the high F#6, which can be easily played on an alto in G4, but not the low F4, a note not playable on the alto in G4. In standard modern practice, the right hand is the lower hand, while the left hand is the upper hand, although this was not standardized before the modern revival of the recorder. Uncertainty regarding the nature of these fittings has hindered reconstruction of the instrument's original state. In 1556, French author Philibert Jambe de Fer gave a set of fingerings for hybrid instruments such as the Rafi and Grece instruments that give a range of two octaves. 10, https://it.wikipedia.org/w/index.php?title=Flauto_dolce&oldid=119464218, Strumenti della musica colta del XX e XXI secolo, Template Webarchive - collegamenti all'Internet Archive, Contestualizzare fonti - strumenti musicali, Voci non biografiche con codici di controllo di autorità, licenza Creative Commons Attribuzione-Condividi allo stesso modo, soprano in sol (che oggi chiameremmo "contralto". the steepness of the ramp) among other parameters. In inglese è chiamato recorder, in francese flûte à bec, in tedesco Blockflöte. [57] Many of these instruments are pitched around A = 440 Hz or A = 466 Hz, although pitch varied regionally and between consorts. The top of the instrument is damaged: only a cut side of the windway survives, and the block has been lost. Translated by I.M. Acquista il CD 12 Concerti Per Flauto Dolce di Francesco Mancini in offerta su La Feltrinelli. The player may also leak other holes to destabilize lower harmonics in place of the thumb hole (hole 0). This technique is an important tool for intonation, and is related to the fixed process of tuning a recorder, which involves the adjustment of the size and shape of the finger holes through carving and the application of wax. Valentina Confuorto è musicista e autrice. In un libro contabile del 1388 del conte Enrico di Bolingbroke (il futuro Enrico IV d'Inghilterra) si trova l'annotazione «fistula nomine Ricordo»[7], che risulta essere la più antica menzione del nome recorder, ancor oggi usato in inglese per il flauto dolce, la cui etimologia è tuttora sconosciuta. Federico Maria Sardelli concurs with Michel in supposing that the margin note was intended to allow the performance of the concertos on the soprano recorder on a specific occasion, however concludes that they were probably written for the sopranino recorder in F5, noting that small transverse flutes had fallen out of use in Italy by Vivaldi's time, the paucity of flageolets in Italy, the range of the parts, and uses of the flautino in vocal arias.[86]. La musica solistica per flauto contralto è però scritta nell'ottava reale.