Sztuka preludiowania na flecie poprzecznym w XVIII wieku we Francji
Journal Title: Notes Muzyczny - Year 2016, Vol 2, Issue 6
Abstract
In the 18th century, there were two types of preludes. The first type was a part of a music piece (written by a composer) at its very beginning, with a diversified construction (e.g. prélude in French suites or prelude to a fugue in German music). The second type was a short music introduction to the key and character of a piece, improvised by a musician during a performance, which is the subject of this article. Even though the practice of preluding of music pieces on the flute was common in the Baroque period, and then also in the Classicism and the Romanticism, very few modern performers return to it. This article is therefore aimed at introducing the art of preluding on the flute in the 18th century by presenting some texts on preluding taken from French flute playing textbooks from the 18th century and by analysing the music examples included there. The sources are discussed in a chronological order and the studied period is divided into the first and second halves of the 18th century. In the mature Baroque period, the aim of improvised preludes was introducing the key and character of a piece, so they could represent any of the affects commonly known at that time. Their style had two clear influences – the galant style and the figured bass technique, depending on the character of an improvisation. Typical French-styled ornaments were used as well. Apart from solo preluding, artists also improvised with the continuo and in a duo. The most important source from that period was J-M. Hotteterre’s L’art de preluder. In the second half of the 18th century, the virtuoso effect in preludes became more important, so they started to resemble etudes. The Baroque ornaments were replaced by: fiorituras, accidentals, large leaps and the use of the flute’s high register. Preludes were still aimed at introducing the key of a piece but their role to present a performer’s instrument playing skills was emphasized. It was probably in that period when group preluding was abandoned. The article presents and discusses the rules of preludes composing and modulating, as well as the schemes and patterns for preludes from the first and second halves of the 18th century, which facilitate the process of learning of the art of preluding for the beginners and artists less skilled in improvisation.<br/><br/>
Authors and Affiliations
Ewa Gubiec
Keywords
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