Hugot Wunderlich S Methode (Page 3 of 4) in pdf

goals of the Paris Conservatoire: the disci-

were approved by a committee. They are

Music from the University of Alberta, and a

plining of music for civic and military func-

indicative of a newly collectivized approach

Performance Certificate and Second Phase

diploma in Baroque and Classical flute from

tions, rather than for courtly entertainment.

to music pedagogy distinct from the indi-

the Conservatorium van Amsterdam, where

vidualized, idiosyncratic approach of music

treatises published prior to the Revolution.

she studied with Jed Wentz. Her current

The Conservatoire’s New Pedagogy

No other teaching materials but those offi-

research projects center on 18th-century

The Paris Conservatoire was the first

cially sanctioned by the Conservatoire could

improvisation, the Dutch Early Music scene,

institution to attempt to standardize music

be used in that institution.

and on historical performance and 1960s

education in France through a centralized,

Hugot and Wunderlich’s Méthode de

countercultural movements.

secular state authority. Its mission was

Flûte, one of the longest and most detailed

to create a national music worthy of the

of the official Conservatoire treatises at 152

people of the new French Republic. Given

Notes:

pages, exemplifies this institution’s new

its origins in the National Guard and Revo-

This periodical, published by the Citoyen

pedagogical approach. It was, firstly, a col-

Cocatrix, appeared weekly from 1802/3 to 1805; it

lutionary politics, the concepts of military

was renamed the Correspondance des professeurs et

lective product: documents outlining its

discipline—along with Liberty, Equality

amateurs de musique in 1804. A facsimile reprint is

approval by a seven-member commission,

and Fraternity—pervade the Conservatoire’s

available (Geneva: Minkoff, 1972). All translations

the Conservatoire’s general assembly and

foundational documents and curriculum

from the French throughout this article are my own

the director are reprinted in its prefatory

unless otherwise indicated.

structure. Four hundred students of both

The Concert Spirituel, established by Anne

materials.

Moreover, its overall format

sexes were to be admitted, generally between

Danican Philidor, ran continuously from 1725-1790.

likewise follows a similar narrative shape to

the ages of eight and thirteen, with equal

Originally intended to present sacred choral music

the other Conservatoire methods. Carefully

numbers from each French département.

during Lent, the Concert Spirituel eventually became

engraved fingering and trill charts, for both

Led by Barnard Sarrette’s directorship, the

primarily a forum for instrumental music and an impor-

the one-keyed and the four-keyed flute, are

tant vehicle for virtuoso performers. Flutists featured

five inspecteurs-compositeurs (François

on Concert Spirituel programs included Michel Blavet

included in the first few pages [see illustra-

Joseph Gossec, Étienne Méhul, André-

and Pierre-Gabriel Buffardin, Johann Baptist Wendling,

tion, p. 2].

An introductory article outlines

Ernest-Modeste Grétry, Jean-François

Pietro Grassi Florio and Joseph Tacet. The series also

the flute’s history, culminating in its then-

did much to promote orchestral music, and included

Lesueur and Luigi Cherubini) were charged

current four-keyed version, and a descrip-

early performances of symphonies by Johann Stamitz,

with the establishment of a gradated regimen

Haydn and Mozart. See Constant Pierre, Histoire du

tion of the instrument’s composition and

for the acquisition of musical skills and a

Concert spirituel 1725-1790 (Paris: Société de Musi-

form. From there, the articles cover topics

standardized repertoire for all students.

cologie, 1974).

which range in order from the more basic

Loi portant établissement d’un Conservatoire

Musical instruction proceeded in three

de musique à Paris pour l’ e nseignment de cet art; 16

and practical—such as posture and holding

orderly stages or degrees: in the first degree,

thermidor an III (3 August 1795), in Constant Pierre,

the instrument, embouchure formation, and

students were educated in solfège and the

Le Conservatoire national de musique et de déclama-

the use of the tongue (Articles Three through

principles of music; once admitted to the

tion: Documents historiques et administratifs recueillis

Six)—to the more abstract—e.g., phrasing,

ou rencontrés par l’ a uteur (Paris: Claude Tchou pour la

second degree, they received instruction in

Bibliothèque des introuvables, 2002), 124-5. Of these

ornamentation, tempo indications, the dis-

singing and in their chosen instrument; in

six instructors, one doubled as oboist. By 1796-97 (an

tinctive characteristics of the adagio and the

the third degree, they received instruction in

V), this number had been reduced to five (Pierre, 408).

allegro, etc. (Articles Seven through Ten).

the theory and history of music, accompani-

Jane Bowers, introduction to François Devienne’s

The Hugot-Wunderlich treatise is

ment, and advanced lessons on their instru-

“Nouvelle Méthode Théorique et Pratique pour la Flute”

ambitious in its size and scope, more than

(Aldershot and Brookfield: Ashgate, 1999), 12. For a

ment. A timetable ensured regular lessons

catalog of extant editions, see Thomas Boehm, “Com-

doubling the length of Devienne’s 77-page

on a 10-day schedule (décade), in accordance

mentary on the Present Edition, ” in François Devienne’s

method. As such, it offers valuable infor-

with the French Republican calendar, and

“Nouvelle Méthode, ” 31-72. A copy of Devienne’s

mation about flute-playing in France at

method was also purchased by the Institut national de

even practicing was enforced at fixed hours.

musique in 1795. See Dépenses pour l’institut national

the beginning of the nineteenth century in

Examinations were administered at regular

par le citoyen Sarrette, Floréal et Prairial III, in Pierre,

regard to issues of performance practice,

intervals to test students’ progress, and dis-

Le Conservatoire national de musique, 118.

teaching methodology, repertoire and even

ciplinary infractions were swiftly punished.

David Jenkins, introduction to A. Hugot & J.G.

instrument design [see illustration]. Part II

Wunderlich, Méthode de Flûte 1804 (Buren: Fritz Knuf,

The Conservatoire’s highly-disciplined

1975), xvi-xviii. The latest extant edition dates from

of this article, which will appear in the next

pedagogical approach is most clearly

1906. Wunderlich (1755/6-1819), a German, had stud-

issue of TRAVERSO, will consider Hugot

articulated in its fourteen official instruc-

ied and worked in France since 1776 and was hired as a

and Wunderlich’s specific innovations in

tion treatises, which were commissioned

Professor of the Second Class at the Conservatoire on 22

regard to articulation, fingering dexterity

in 1796 and published by the Imprimerie

November 1795. See Nomination du jury du concours

d’admission aux emplois de professeurs, 2 brumaire an

and ornamentation.

du Conservatoire from 1800 through 1814.

IV in Pierre, Le Conservatoire national de musique et

These seminal works, covering elementary

de déclamation, 128-9. After the deaths of Devienne

Kailan R. Rubinoff is Assistant Professor of

music theory, solfège, harmony, and all

and Hugot, he became the sole flute professor at the

Musicology at the University of North Caro-

the major instruments, were written by the

Conservatoire until 1816.

Jane Bowers, introduction to François Devienne’s

lina at Greensboro. She received her Ph.D in

head music professor(s) in each subject, and

“Nouvelle Méthode, ” 14. Bowers and Thomas Boehm

Page 3

Hugot Wunderlich S Methode Page 3

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