This has led to a busy and varied career playing all sorts of different early flutes in music from the Renaissance, through Bach, Mozart, Beethoven, Rossini, Brahms, Wagner to Tchaikovsky and Mahler. It was whilst studying modern flute at Guildhall School that Lisa heard a lunchtime recital given by Stephen Preston the simplicity, beauty & expressive power of the one-keyed, wooden instrument played by such a master made a huge impression on her. She completely fell in love with the new sound world and the possibilities it opened for understanding and playing baroque music, and went on to study baroque and classical flutes with Stephen Preston and harpsichord continuo with David Roblou. In her dual capacities as soloist and orchestral principal, she has travelled throughout Europe, Asia and North and South America, playing a wide range of 18th and 19th century repertoire with some of its finest interpreters. My favourite music making has always been playing with wonderful singers.Born in England of Ukranian/Irish descent Lisa Beznosiuk is one of the world’s leading performers on early flutes. What’s your favourite part about being in an ensemble like OBS? In his cantatas, on the other hand, Bach sometimes used the flute for setting the most gentle moments (such as Benedictus in the B minor Mass or Aus Liebe in the St Matthew Passion) and sometimes for the most glorious ones such as doubling the trumpets in Magnificat and Gloria! What are the biggest challenges as a flautist when performing Bach’s repertoire?Īlthough wonderful, Bach’s flute repertoire is very much “testing its limit”! As most compositions kept within 2 octaves of the best range for Baroque flutes, Bach wrote his A minor partita BWV 1013 with the highest note A as well as a low middle C (presumably on a C-foot flute)! He is never afraid to use tricky tonalities or chromatic scales either! Furthermore, Bach is not a wind player himself and seldom considered places for breathing…! Flautists always debate fervently about where to breath within his gorgeous patterns and sequences without disturbing the music. In 1860 Paris Conservatoire officially took up the silver Boehm-system flute, which has prevailed for most of the modern musical world today.īach wrote wonderful instrumental pieces for the flute such as sonatas, trio sonatas and orchestral suites, in which he explored both technical and musical aspects of the instrument. During the first half of the nineteenth century, flute makers tried out all kinds of designs with various combinations of materials (such as porcelain, ivory, glass and metal), bores (conical and cylinder) and key systems. The one-keyed conical-bore flute has evolved into more keys and narrower bore in order to accommodate more complex music as well as bigger venues during the classical periods. How has the flute evolved since the Baroque era? ![]() In this case, the flute has naturally strong D-major notes and weaker cross-fingering notes which gives the instrument beautiful colours. The basic scale/fingerings is in D major and we use cross fingerings for the notes outside D major scale. The conical bore creates much more mellow and gentle sounds than metal modern flutes. ![]() ![]() The Baroque flute is made of various hard wood (boxwood, ebony or granadilla etc.) with one key. Our latest newsletter is by Yu-Wei Hu on the flute! (Main image by Aiga Ozo) What are the essential features and sound of the flute? Find out more about some of the instruments played by our ensemble in our new series, Bach’s Band.
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