Paul Taffanel (1844-1908)
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Flute Teaching - The French School of Flute Playing |
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Paul Taffanel (1844-1908)
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For thousands of years the sound of the flute has fascinated man, and the instrument can probably be regarded as one of the oldest. The modern Boehm flute covers 3 octaves, and the beauty and flexibility of the sound, together with its capacity of modulation can in many ways be compared to the human voice - in other words the flute gives a unique possibility of singing on the instrument. For the one who wants to learn the art of flute playing, the teaching starts with a great wish to get to know the instrument in detail. Each generation of musicians carries their tradition and passes on their experiences with great pleasure. I teach everybody who is interested in the instrument, and over the years I have had students from many different nations. In 2004 I formed The Kuhlau Academy whose purpose is to encourage young talented musicians to play the chamber music repertoire at the highest level under expert and inspiring instruction by excellent Danish and foreign musicians who have great experience as soloists and chamber musicians.
To make an arrangement concerning teaching
- please see:
contact
From my teacher, Verner Nicolet, who studied
with principal flutist at the Royal Opera Orchestra, Holger Gilbert Jespersen (1890-1975), I
have heard much about Gilbert's fantastic flute playing. I have a couple of records by him, among others his recording of Carl Nielsen's Flute Concerto
with a quite wonderful and imaginative flute playing, which is completely
unsurpassed in its expression and power. Below you can read a couple of statements by Gilbert Jespersen
himself, which give a fine idea of the artist's education and work as a
musician e.g. in Paris where he studied with both Hennebains and Gaubert.
I started at the Royal
Academy of Music studying with the then
principal flutist of the Royal Orchestra Fr. Storm.
He was a wonderful person and an excellent musician, and he taught me the
love of France, the homeland of flute playing, where I soon continued to
study. I began to study with Hennebains and played as a substitute in the
orchestra of the opera. Later I went to France again, and this time I
studied with Gaubert, who became one of my best friends. When my former
teacher Storm left the Royal Orchestra in 1927, I took over his seat, and at
the same time I started teaching at the Royal Academy of Music where later I
became a professor. I got a lot of work in Paris thanks to my teacher Philippe Gaubert, who is a conductor of the orchestra at the Grand Opera and a famous flute virtuoso. Gaubert was often hindered at the concerts where his name was on the programme because he had to conduct at the opera or teach at the academy of music - and then he sent me instead. Thereby I got to know many people in the world of music and got quite a few engagements. However, I will not be stuck in Paris for ever even though it is probably the city in the world where music, everything considered, is in its strongest position now, and where my instrument, the flute, is especially played with love and solicitude. I think it is connected with the sense of style of the French and their enormous tradition and respect for what dates back from ancient time.
I am just a humble servant for the music, which is a divine art. When I play, I feel a plastic insight in the music and an urge to express the composer's intention without any personal vanity. The one who expresses something must stand aside in favour of the creative person. The flute is a flexible instrument which can easily merge from one feeling into the other. I am more fond of my flute now than ever before, it has become more valuable to me. I will not just allow my fingers to fly up and down the flute tube, but I want to make performances with insight and deep artistic feeling.
There has been a time when the flute as a solo instrument almost became silent. But Gilbert Jespersen owns a magic flute which in this country and probably also in other places can make the interest come fully alive again. Especially on the deep notes his tone is unusually soft and full, and in the various registers it has a capacity of modulation which is developed with virtuosity.
On the below links to mp3-files you can hear 3 famous French flutists' flute playing in recordings on Edison rolls from before 1900 and on 78" records with recordings from before 1940.
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Société des
Concerts du Conservatoire |
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Sturkas, Marco & Sophy |
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