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Il Flauto Traverso: storia tecnica, acustica con Il flauto nel Novecento di Emilio
Galante by Gianni Lazzari

Article  in  The Galpin Society Journal · January 2004

DOI: 10.2307/25163814

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 Review
Author(s): Tula Giannini
Review by: Tula Giannini
Source: The Galpin Society Journal, Vol. 57 (May, 2004), pp. 267-269
Published by: Galpin Society
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 Reviews 267

practical knowledge of the instrument. He has also Written as part of a series of manuali published by
clearly studied the contemporary literature noted in EDT/SidM (Societa Italiana di Musicologia), the
the copious Bibliography of over 460 entries, and his author of II Flauto Traver so puts forth the promise of
travels in Europe with his colleague George offering flute students familiar with Italian a most
Lucktenberg have given him much first-hand useful resource to underpin their studies. Lazzari
information of all the national schools of building points out in the introduction that he was invited by
and surviving instruments. the publisher to undertake this work to produce a
Part V on the Nineteenth and Twentieth Cen 'manual for the transverse flute'. In this purpose,
turies is perhaps the most interesting section of the Lazzari and co-author, Emilio Galante (contributor
book, exploring first the twilight period from 1800 of 'The Flute in the 20th century'), have clearly
up to the revival of the harpsichord which he dates succeeded. A distinguishing feature is seen in the
from the 1889 Paris exposition. The second period book's organization of three thematic sections: Part
runs until World War II, and the third, 'TheModern I, storica, is a general history of the flute drawn from
Harpsichord' effectively brings the book to a close published sources which Lazzari has woven into an
with a look at many of the builders of the last 50 historical narrative and vehicle to give expression to
years or so. Though much of the history of this his views on the flute, no doubt, a subject dear to his
period iswell documented in
Martin Elste's excellent heart as a flute teacher and performer; Part II,
chapter 'Nostalgische Musikmaschinen' in the tecnica, a study of fundamentals of flute technique, is
Berlin catalogue Kielklaviere; Cembali, Spinette, tempered by historical texts and Part III, acustica, is a
Virginale of 1991, the latter is in German. Kottick's study of the acoutics of the flute. Storica begins in the
survey in English makes the study ofthe harpsichord middle ages and proceeds chronologically through
revival more accessible to a wider audience. the romantic and
renaissance, baroque, classical,
The book is completed with a Glossary (albeit a modern periods, ending with a section on 'the family
slightly truncated list to my mind), Bibliography, an of the flute' which highlights flutes of various sizes
a collection of 23 colour and from the piccolo to the bass flute.
Index, stunning plates, (Perhaps the
a CD enclosed within the back cover. The latter has earliest mention of the piccolo, or petite flute, is
musical examples well on some of the Martin Hotteterre's workshop
played inventory taken 1711
described in the text.
instruments at the death of his wife published in 'Jacques
The book is beautifully presented in handsome Hotteterre le Romain and his Father Martin',
hardback covers and an eye-catching dust jacket. T. Giannini, Early Music 1993). As might be
For my part, I think that Indiana Press could have expected, Lazzari devotes more attention to Italian
used a more brilliant white paper to improve the flute players and music than do other general flute
definition of some ofthe older monochrome pictures books. For each historical period he inserts a section
which have had to be used but, as an editor myself, I on 'the flute in Italy' which enhances his subject's
can well sympathise with the author, who has made dimensions particularly since this material is often
every attempt to improve the quality of some of the neglected, or perhaps overshadowed by the impor
archive photos. tance given to flute playing in France where wood
There have been several other general books on winds, highly appreciated for their palette of tonal
the harpsichord in the period since Russell and colours, have been associated with the most gifted
Hubbard, but there has certainly not been a volume makers and musicians, whereas in Italy, string
which so admirably fulfills the need for a good instruments and players have occupied the highest
scholarly update on the state of our knowledge rank. Nicely placed musical examples inform the
about the instrument over the last 40 or so years. I discussion of musical style. To illustrate chamber
can
whole-heartedly recommend it as
extremely music for the baroque flute, Lazzari uses the opening
good value for money, and one which will be of adagio of Blavet's Sonata IV, fig 26, p.77. This is
considerable use to anyone with an interest in or a followed by fig, 27, p. 79 which reproduces the first
love of the harpsichord. pages of Sonata VI, Op. 12 by Roberto Valentine,
CHARLESMOULD inglese. (Lazzari might have noted Hotteterre le
Romain's arrangement for transverse flute (Paris
1721) of sonatas for two trebles composed by
GIANNI LAZZARI. II Flauto Traverso: storia Valentine in Rome 1720, as evidence for friendly
tecnica, acustica con II flauto nel Novecento di musical connections between Paris, London and
Emilio Galante. Turin: EDT/SidM, 2003. ISBN 88 Rome.) Included is a set of twenty plates in black
7063-494-9 (paperback). 544 pp., illus., musical and white on glossy paper. Several depict historical
examples. Text in Italian. Price 30. flutes of which some are reproductions; these serve

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 268 The Galpin Society Journal

to illustrate flute makers of various periods and the pedagogy of Marcel Moyse illustrates romantic
countries. However, the materials and measurements flute style extended across century lines?a style
of instruments and plate titles are not indicated. Flute Moyse himself never ceased to revere but rather
iconography and portraits of flautists complete the endorsed wholeheartedly through its representative
set, and include one devoted to Italian players. flautists/composers, especially Tulou, whose notion
Galante's section on the flute in the twentieth of flute performance is characterised in his method
century also is distinguished by his attention to as that which charms rather than astonishes.
Italian flautists and music. He highlights Serverino Recalling an interview I did with Moyse at the end of
Gazzelloni's contributions to performance and his career, Iwas impressed that he still considered
teaching and Luciano Berio's Sequenza, a ground Tulou to be at the heart of the French school.
breaking work for solo flute. A generous selection of Galante refers to seminal early twentieth-century
musical excerpts from solo and orchestral literature sources such as Schoenberg's Pierrot Lunaire, which
underscores the text and serves to demonstrate the require flute techniques that became those of later
voice and character of the flute in twentieth century avant garde and aleatory music by composers such
music. Beginning with Debussy, Galante traces the as Lucas Foss and Stockhausen.
influence of modern music on flute playing, taking Part II, tecnica, assembles detailed analyses of
for example the music of Edgar Varese (Density flute technique based on Lazzari's interpretation of
21.5), Pierre Boulez (Sonatine), and Olivier historical texts, writings of contemporary flautists
Messiaen (Le merle noir). He extends his discussion melded with his own experience and perspectives.
through to jazz by way of a profusion of composers Italian students ofthe flute will find this most helpful
and performers to underscore the rich and diverse as a guide to practical applications of technique. He
repertoire for the twentieth century flute. charts (pp.377-79) the use of syllables employed
Much attention is paid to the contributions of for articulation (single and double-tonguing) found
famous flautists. Among the questions this topic in flute methods from the 17th to 19th centuries
raises is one concerning the great American flautist, to focus attention on their diversity. It is worth
William Kincaid, who is noted for a technique noting that articulation and tone are affected more
involving whistle tones, but not for the title he by the placement of the tongue than the specific
earned of Dean of the American flute school. On the syllable used, and that this placement historically
other hand, Lazzari (p. 154) and Galante (p. 185), has been a point of contention. For example, Dorus
citing earlier sources, confirm Taffanel as the notes in his method, 'we must warn students against
founder of the modern French flute school, although the vicious rather common
and habit of striking
recent research (brought to light in Great Flute the tongue directly on the teeth'; a like opinion is
Makers of France listed in Lazzari's bibliography) found in Berbiguier's method. Sections on posture,
credits Louis Dorus for his role in the birth of the embouchure, breathing, vibrato, articulation and
modern flute school by virtue of his being the first fingering are examined in depth with pointed
professor of the Boehm French model cylinder flute, reference to many of the important flute methods
winning its official sanction at the Paris Conserva from Hotteterre to Nicholson, Boehm and Taffanel
toire, and for his artistic vision as collaborator on and Gaubert.
its design with Louis Lot and Vincent Hypolite Acustica explores the scientific basis of flute
Godfroy (and not Clair Godfroy aine, 1774-1841, acoustics and tackles the thorny issue of whether the
his father, as Lazzari states). Because much of material of which a flute ismade affects its sound.
nineteenth century practice carries over into the next This subject is particularly fascinating, since today
century, clear beginnings and endings seem to elude the instrument of choice for many flute soloists is
definition although Galante makes a reasonable made from gold. When serving as curator of the
attempt at sketching the development of the flute Dayton C. Miller Collection, I could observe the rich
during this period of transition. In the context variety of materials from which the flutes were made
of flute-making, a look at the blurring of period including ivory, wood, brass, silver gold, glass,
lines can be seen via the Louis Lot flute no. 600, a ebonite, plastic, jade and even cement. Miller's
superlative early Lot instrument that Taffanel scientific study, The Influence of the Material of
played until the end of his career. Originally made in Wind-Instruments on the Tone Quality, 1909, (not
1860 for Dorus, his teacher, and now held privately, mentioned by Lazzari), for which he put his collec
it is beautifully preserved, and stands as an objective tion to use, contributed to his stature as a pioneer in
measure of Taffanel's concept of the flute as an this field of study.
instrument capable of bridging romantic and Interspersed throughout the text are numerous

modern style. Similarly, in the context of teaching, diagrams to illustrate key mechanisms, playing

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 Reviews 269

techniques and acoustic principles. Fingering charts chance to fully understand what is discussed in the
by flute luminaries Hotteterre, Drouet and Boehm text. These pictures have been printed on glossy
are contained in Appendici along with a biblio paper and are inserted together in the centre of the
graphy of sources arranged according to the sections book.

of the book, followed by a useful glossary of terms. Despite her knowledge and easy-to-read writing
The reader will find that the citing of sources is style, this article shows the problems associated with
inconsistent which, as a result, leaves a good deal of such an undertaking. To attempt to write about the
undocumented text as well as sources used and listed decoration of the five major schools of harpsichord
in the bibliography, but not cited. Because this book manufacture (Italy, Flanders, France, Germany and
is neither a scholarly nor research publication, this England) in all of its aspects in some 100 pages of
lapse would seem more a consequence of its more text, even allowing for the larger format of this
popular style. volume, can only result in the broadest of sketches
Given the breadth of information contained in for each individual subject area. With the restric
the sections tecnica and acustica enlivened by fresh tions of a condensed history and basic analysis of
perspectives, and having addressed the lacuna for styles, there is only space for coverage in the simplest
an up-to-date and practical flute book, when taken of terms. Naturally some parts are better than others
as awhole, Il Traverso captures a sense of originality -
the sections on the differences between the various
from its concept of encompassing three distinct decorators who worked for members of the Ruckers
themes in one 504 page tome, making it an family, and on the eighteenth-century French harpsi
especially valuable resource for Italian-speaking chord are well covered. Sheridan Germann has spent
flute students and performers. much of her professional life replicating decoration
TULA GIANNINI in these styles and may have had to consider various
aspects of these traditions in much greater detail
than in other types of instrument.
HOWARD SCHOTT (ed): The Historical Other parts of the work perhaps show a slightly
Harpsichord, Volume IV. Hillsdale NY:
Pendragon greater general reliance on information which
Press, 2002. 241 pp. illus., ISBN 0-945193-75-0, has been published elsewhere, and the occasional
hardback. Price ?38. example of research which is a number of years out
of date. It is perhaps grossly unfair of this reviewer
This fourth volume in the Historical Harpsichord to concentrate on his own speciality, but to take
series has been long awaited, and comes some ten early English instruments as an example, one finds
years after the publication of the previous volume in comments (for instance) that the Hasard harpsi
is
this series. It also notable for its difference in size, chord at Knole Park is short scaled, whereas its
the page sizes being American Letter size (llin. x soundboard, bridges and keyboard are missing,
81/2in./28cm. x 21.5cm.), approximately double making any assessment difficult, although itwould
the size of the previous volumes. As was the case be fair to comment that the bentside shape is typical
with the most recent volume, there are two articles of short-scaled instruments (in the opinion of this
in this monograph, the first (and major) one titled reviewer it is most probable, but by no means
was -
'Harpsichord Decoration', written by Sheridan certain, that the compass GG, A A c3, and the
Germann, and a shorter article 'A Fable c2 string length (shorter than what may be con
Deconstructed?the 1770 Taskin at Yale' by the sidered the actual scale length) was around 386mm,
curator of that Collection, Dr Richard Rephann. roughly the same as that found in the 'long-scale'
The contrast between the two articles ismarked, and Dulcken harpsichords). One also finds mention of
shows the problems and advantages associated with eighteen surviving virginals dating from 1641 to at
writing articles on wide-ranging and specific least 1679. Not including two unsigned instruments
subjects. that this reviewer has discussed in this Journal and
If anyone has the knowledge, experience and believes to be from the sixteenth century, there are
ability to write about harpsichord decoration it is twenty known English virginals, dating from 1638
Sheridan Germann, herself long acknowledged as 1684. There is only one instrument with a stand that
one of the world's finest decorators in the historic is almost
certainly original, and that stand is turned,
style. Her ability ismatched by her great knowledge although three survive with stands featuring twist
of the historical techniques, styles and methods used turned legs they are in fact modern, despite the
by the original artists. The article takes up some 213 statements in the text that original stands are in
pages of the volume, including 95 pages of black either form. It is also claimed that the 'Natural key
... but
and-white illustrations which give the reader a tops were often of ebony with ivory sharps

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