{"id":7668,"date":"2014-07-01T00:00:00","date_gmt":"2014-06-30T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/massgebend-seit-1707\/"},"modified":"2024-09-26T10:11:43","modified_gmt":"2024-09-26T08:11:43","slug":"massgebend-seit-1707","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2014\/07\/massgebend-seit-1707","title":{"rendered":"Authoritative since 1707"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Hot.jpg\" alt=\"\" width=\"554\" height=\"433\" \/><figcaption class=\"wp-caption-text\">Illustration in the new edition<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>For playing on the single-keyed transverse flute, the baroque recorder and the baroque oboe, Hotteterre's <em>Principles <\/em>is still of such fundamental importance that today's players cannot avoid studying this work and \"integrating its basic concepts into their own work\". The flutist and editor Karl Kaiser, who specializes in early music, notes this in the preface. Kaiser has translated the textbook anew in order to \"convey Hotteterre's aims and also his specific orientation for today's musicians\". However, he also points out that every musician must find their own artistic position. At the same time, he enriches the translation with numerous commentaries in which he provides detailed additions and explanations to the original text. Hotteterre himself wrote in the foreword that he wanted to smooth out the initial difficulties, \"which are usually among the most difficult\", and that his textbook could also be used for self-study.<\/p>\n<p>The flautist divides his work on the basic concepts, the \"Principes\", into two \"Trait\u00e9s\" for transverse flute and recorder and concludes with a short \"M\u00e9thode\" for oboe. In the detailed trait\u00e9 on the transverse flute, Hotteterre first describes the posture (chapter I) in order to \"combine beautiful grace with agility\" and the embouchure (chapter II) and recommends practicing his advice in front of a mirror. In chapters III and IV he goes into the fingering of the transverse flute, first systematically explaining the \"natural notes\" without accidentals and the trills on these notes and recommending a specific fingering for each fingering. In chapters V and VI he proceeds in the same way with the raised and lowered notes and adds special fingerings in chapter VII. At the end of the textbook there are clear tables of fingerings in today's notation and with all the variations described in the text. In chapters VIII and IX, Hotteterre devotes himself to articulation and ornamentation, which in his opinion are \"absolutely necessary for the perfection of playing\". Of course, the aspects dealt with here, such as inegale playing and ornaments like battements, flattements etc., are also important for other instruments. Hotteterre dealt specifically with inegale playing in 1719 in his second textbook <em>L`Art de Pr\u00e9luder<\/em>which has already been published by the same publishing house in a new translation by Dagmar Wilgo (EW 815; cf. <a href=\"\/dms\/archiv\/smz\/2012\/06\/articles\/archiv_06_Buecher-Noten.pdf\">Review by Matthias Arter<\/a> <em>SMZ<\/em> 6\/2012 S. 30). The \"Trait\u00e9 pour la fl\u00fbte \u00e0 bec\" is much shorter and only gives brief instructions on posture and finger position, and the \"M\u00e9thode\" for oboe is also only a few pages long, which may have something to do with the fact that Hotteterre was mainly a flautist.<\/p>\n<p>In the end, the question arises as to why this textbook is still overshadowed by the <em>Try an instruction to play the flute traversiere<\/em> by Johann Joachim Quantz from 1752, which described the aspects dealt with by Hotteterre and numerous other aspects in much greater detail, but largely adhered to his textbook in the structure of the basic chapters and mentioned it specifically in the \"First Main Section\".<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Prinzipes.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Jacques Martin Hotteterre, Principes de la Fl\u00fbte, annotated version from the French with introduction and summary as well as fingering charts for transverse flute, recorder and oboe by Karl Kaiser, EW 924, \u20ac 24.50, Edition Walhall, Magdeburg 2014-06-12<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Jacques Martin Hotteterre's \"Principes de la Fl\u00fbte\" newly translated, annotated and supplemented.  <\/strong><\/p>","protected":false},"author":1,"featured_media":7669,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1316,29],"tags":[],"class_list":["post-7668","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noten-rezensionen","category-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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