Edward R.

Reilly

Quantz and the transverse flute

Some aspects of his practice and thought regarding the instrument

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pitches, the end which Quantz wished to reach with
The low tuning of Quantz is no longer used; departed with it
are Quantz's flutes, Quantz's concertos, and the true art of
his second key, is characteristic of his approach to
playing them, without which they suffer indescribably. Now
that flute. At a time when woodwind instruments
there are perhaps no more than three people in Berlin who
still know the way to play them. were often played badly out of tune,3 he was anxious
to achieve an extraordinarily acute distinction be-
HIS brief statement, which appeared in the tween pitches. The kind of distinction at which he
T last volume (1792) of the Anekdoten von Konig aimed, however, may at first puzzle some modern
Friedrich von Preufien, edited by Christoph Friedrich performers, since it is based on conceptions that dif-
Nicolai (1733-1811),1 suggests the vital relationships fer from those widely held today. Quantz accepted a
that exist between pitch, the characteristics of a per- so-called mean-tone system of tuning, in which en-
former's instrument, the style of a composition, and harmonic forms of a pitch were clearly distin-
the manner in which it is played. As a composer, a guished. DS differed perceptibly from EkThe new
performer, a teacher, and a manufacturer of flutes, key was named after the former pitch to set off its
Johann Joachim Quantz (1697-1773) was directly usage from that of the earlier El- key. Contrary to
concerned with all of these matters. When we come modern notions, however, E!> was slightly higher
to consider his activity in the sphere of flute making, (specifically by the interval of a comma) than Dl.
his goals as an accomplished performer and as a Quantz's views in this regard coincided with many
knowledgeable composer must be kept constantly in of his predecessors and contemporaries.4 This cen-
mind. tral concern with pitch (and temperament) was to
remain a dominant factor on several levels in his
Quantz's contributions to the development of the subsequent attempts to further improve the instru-
flute ment. But one must remember that the bases then
Quantz himself notes in his Versuch einer accepted for tuning often differed fundamentally
Anweisung die Flote traversiere zu spielen (1752) and from modern views.
in his 'LebenslauP (1754, published 1755), that his In his autobiography Quantz reports that it was in
concern with improving the properties of the flute the year 1739 that 'because of the lack of good flutes,
initially showed itself in Paris in 1726, when he 'had I began to bore and tune them myself.5 In the same
the second key added to the transverse flute for the work he also mentions that in 1752, the year in which
first time'.2 Although the idea was his, it is clear the Versuch appeared, he discovered a tuning slide
from the manner in which he reports the develop- which could be introduced into the headpiece.6 Out-
ment that he had the work done at that time by wardly the second key, together with this tuning
someone else. slide and a movable plug in the headpiece, the in-
Improved discrimination between enharmonic vention of which is attributed in another source to

Edward R. Reilly is the author of a variety of studies on Quantz, Mahler and Musorgsky.

EARLY MUSIC AUGUST 1997 429

Quantz's teacher Pierre-Gabriel Buffardin (c.1690- when removed from the headpiece. The movable
1768),7 remained the most obvious characteristic fea- plug was felt to be essential for both good tone and
tures of Quantz's instruments, or instruments built correct intonation. As we can see from some of
to his specifications. Quantz's surviving flutes, at the time that he wrote
We are fortunate in having an excellent 18th- the Versuch six different middle pieces were often
century engraving of a Quantz instrument with an made for a single instrument, so that the flautist
accompanying illustration of the plug and tuning could choose to play in any of the many different
slide. These pictures were prepared for an article on pitches then in use. Quantz notes that 'Six middle
Quantz's instruments by F. D. Castilon (dates un- pieces now form an interval a little larger than a
known), published in 1777 in volume 3 of the Supple- major semitone, which the construction of the flute
ment to the historic Encydopedie of Denis Diderot permits with no detriment to true intonation; and
(illus.2). Thus far, all that is known about Castilon if it is necessary, two more middle pieces can be

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(also spelled Castillon) is provided in the Avertisse- added'.10 Without some adjustment in the length of
ment of the Supplement. There he is cited as the son the headpiece, however, both tone and intonation
of J. Castillon, and both are mentioned as members suffered with some of the middle pieces. The pur-
of the Akademie in Berlin; this suggests how he came pose of the movable plug was to permit the necessary
to know of Quantz's flutes, but does not explain how correction in the length of the instrument to pre-
the flautist's name is systematically misspelled serve good intonation and the best possible tone.
'Quautz' in the article. J. Castillon is most probably Quantz indicated, as did Castilon, that the plug was
Jean Francois Salvemini de Castillon (1709-91), who made of cork, but Castilon suggested the substitu-
was born in Castiglione in Italy, studied in France, tion of several discs of leather, since they were less
and was ultimately brought by Frederick the Great to likely to wear out and require replacement.
Berlin, where he became director of the mathematics The tuning slide was in reality a device to extend
class at the Akademie. His son's article and its illus- still farther the total available pitch levels on the in-
trations—first discovered by the late Erich Half- strument, or to avoid the use of so many middle
penny8—are,' in spite of the curious misspelling, pieces. Quantz knew of earlier attempts to introduce
extraordinarily valuable sources of information. In such a slide in the foot of the instrument, but con-
Fig. 15 in the illustration the larger curved key covers cluded that it produced serious problems with re-
the hole which produces DS; the smaller straight one gard to the pitch of many notes. By shifting the slide
covers the Et hole. Each key is also employed in fin- to the head, however, he believed that the problems
gerings for other sharpened or flatted notes in the were solved: "... with it one can make a flute a half
scale, as shown in Quantz's fingering charts.9 Fig. 16 tone higher or lower without changing the middle
shows the plug and the tuning slide as they appear pieces and without damaging pure intonation'.11

./• n;

2 Engravings illustrating F. D. Castilon's article on Quantz's flutes in vol.3 (1777) of the Supplement to the Encydopedie

430 EARLY MUSIC AUGUST 1 9 9 7

Castilon, however, notes that 'M. Quantz usually A further account in Nicolai's Anekdoten of
made two heads for each flute',12 one with the slide Quantz's activities in the field of flute making con-
and one without, which suggests that Quantz felt firms the procedure already outlined, and provides
that the one without the addition still had certain some details about his preferences in woods.
advantages. Castilon also comments: Already in Dresden Quantz had made many observations on
the true tuning of the notes of the flute. He knew how diffi-
The divided head which may be lengthened saves the trouble
cult it is to play in tune on this instrument. He sought to
of having to carry so many upper middle joints. Three, used
remedy this defect [and] had his flutes turned [as on a lathe]
in conjunction with the sliding head should suffice for all
with great care from the best wood, then himself very care-
practical conditions and enable one to play the instrument in
fully measured off the tuning, and bored the holes of the
pitch anywhere. But observe that, since the tuning-slide does
flute himself. But he also maintained that the flute then must
not alter the proportions of the rest of the instrument, the
be and must remain truly tuned in itself.16 At times the King
less one uses it without changing joints, the better will be the
ordered trunks of all kinds of foreign hardwoods for Quantz;
intonation.13

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Quantz tested every kind and found ebony the best; and yet
he distinguished carefully between ebony of different kinds
Thus the device would seem to require more care
with regard to its usability for flutes. He assured me that a
than Quantz suggests. trunk of ebony which the King had received from Portugal in
the year 1766 and had presented to him as a gift was the best
Quantz's role in the manufacture of flutes that he had ever had.17
The specific wording of Quantz's statement about Quantz's liking for ebony, which he says 'produces
boring and tuning his instruments indicates that he the clearest and most beautiful tone', is also made
did not consider himself an instrument maker in the clear in the Versuch, where he lists all the woods then
usual sense. Rather he was a musician who under- commonly used.18
took the most difficult and critical phases of the In the light of the above evidence from Quantz
work, but left the more mechanical aspects to skilled himself and from a source who was obviously close
craftsmen whom he supervised. Perhaps because he to him, it is difficult or impossible to lend credence
did not want to be exclusively connected with the to the assertions of Johann Georg Tromlitz (1725-
trade of instrument making, or because much of his 1805) in his (Jber die Flbten mit mehreren Klappen
work was especially for the king, his instruments (1800, and thus later than Nicolai). He states flatly
bear no maker's stamp or sign. In a manuscript ac- that Quantz 'himself never did any work on flutes,
count of his life that he wrote for the historian and but only indicated what he wanted to the instru-
theorist Padre Martini (1706-1784), Quantz reports ment maker who worked for him'; and later 'I have
that the 'flutes which the king uses, and my own, I already said that Quantz made no flutes with his
have manufactured in my own fashion and tune own hands, but only indicated his ideas'.'9
them myself. It should also be remembered that be- Although, after the selection of the wood, Quantz
cause of his other activities as a composer, performer did not take care of the preliminary turning, Trom-
and teacher, Quantz scarcely had the time to devote litz clearly seems to have erred in denying him a
himself completely to flute making. direct role in the flute making process. All other
If the majority of his instruments were intended earlier sources agree that he measured and bored
for the king and himself, however, other customers the holes himself.
were also found. In a letter to an unidentified noble, Other sources, notably Frederick the Great
dated 11 February 1756, the contents of which are pre- (1712-86) and his sister Wilhelmine (1709-58), the
served in part in a dealer's catalogue, Quantz offers Margravine of Bayreuth, confirm Quantz's continu-
'a transverse flute of the kind described in my Ver- ing activity as a manufacturer and seller of flutes,
such die Flote zu spielen [sic], bored and truly tuned and his responsibility for the quality of his instru-
by me, and indeed made of boxwood with six middle ments.
pieces, [which] may be had for 7 louis d'or. Of ebony Wilhelmine, in a letter dated 16 May 1741 to her
I have thus far let none go except to His Royal brother, reports that 'Quantz is also here. [He taught
Majesty.'15 Wilhelmine's husband, the Margrave of Bayreuth as

EARLY MUSIC AUGUST 1997 431

 Downloaded from http://em.oxfordjournals.org/ at Simon Fraser University on May 30, 2015
3 A Quantzfluteformerly in the collection of the Margrave of Baden, now in the Leipzig Instrumenten-Museum (photo:
E. Dehne-Nieman)

well as Frederick.] His embouchure has grown much In the forties, when the King was still at his liveliest, he had
stronger. He makes his flutes himself; that may well received a new flute from Quantz. It did not seem to quite
contribute [to the improvement].>2° Frederick's let- satisfy him, and after he had played on it several times he
told Quantz that the flute was not quite in tune. This was to
ters while he was on campaign during the second attack Quantz from the side on which he was most sensitive.
Silesian War in 1745 indicate how specific and Quantz was Inwardly annoyed, but defended the flute. The
demanding he was with regard to the qualities of his King seemed satisfied, but the following day renewed his
instruments. They also confirm that different char- complaints. Quantz took the flute from the King's hand,
played on it himself, and affirmed that the flute produced all
acteristics were expected in different instruments. In of the tones truly. The King maintained that it was untrue
October from the Sohr he wrote to his servant, Fred- even when played by Quantz himself. This was more than
ersdorf: 'Quantz is to make me two new flutes—but Quantz could endure. He lost his self-control; a little
very special ones—one with a strong tone and one exchange developed, and at last Quantz said vehemently. 'If a
that is easily blown and has a sweet high register, and great lord could bear to hear the truth, Your Majesty would
know that [the fault] does not lie in the flute, and where it
he is to keep them until my return.'21 On 7 October [actually] does lie'. The King took a couple of steps backward
he noted 'here [I] send some pieces of my good flutes and said rather violently. 'What's that? I am not supposed to
which have been found again. Give them to Quantz, be able to endure the truth? Tell me what is "true"'. Very
so that he can replace the others.'" And on 9 Octo- dryly and crossly Quantz said: 'I havefrequentlybegged Your
Majesty not to hold the flute in your hand or under your arm
ber, 'I have received Quantz's flute, but it is not very after you have played it, but to lay it on the table; but you
good. I have given Quantz one that is better to keep still do the former, and the flute sounds untrue because it is
for me. Give it to me in Berlin.'23 warmed unequally, not because it is out of tune in itself'.
Another of Nicolai's anecdotes about Frederick Very piqued, the King replied: 'That is not true!' and turned
and Quantz has to do with the quality and care of around.
one of the latter's instruments. In the following days the King played on another flute,

432 EARLY MUSIC AUGUST 1 9 9 7

but did not look at Quantz or say a word to him. Quantz, on between 'the very low French chamber pitch and the
his side, gave the King no 'Bravo!' So it went for about eight very high Venetian pitch'.29 His recommendation,
days. Then at the beginning of the concert the King came up however, is a pragmatic one, to maintain the best
to Quantz and said with a friendly air: 'My dear Quantz, I
have tested the flute in various ways for eight days, and have qualities of the majority of instruments in the en-
found that you are right. I will no longer allow the flute to semble, rather than the ideal pitch for each different
become warm in my hand.' Quantz himself told me this type of instrument. As a flautist Quantz's preference
story. As insignificant as it may seem, it still may be rather is for the lowest available standard. In choosing a
characteristic. — The situation in which great lords are told
the truth point-blank and bluntly, and the manner in which
pitch for an orchestra, 'I do not wish to argue for the
they behave in such rare circumstances, suggests many con- very low French chamber pitch, although it is the
clusions about their disposition.24 most advantageous for the transverse flute [emphasis
mine], the oboe, the bassoon, and some other in-
Among the special conditions with which Freder-

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struments; but neither can I approve of the very high
ick attracted Quantz from Dresden to his service in
Berlin in 1741 (when the flautist was 44 years old) was Venetian pitch, since in it the wind instruments
a separate payment of 'one hundred ducats for each sound much too disagreeable ... the very high pitch
flute that I supply'.25 That he actually received such would finally make a cross-pipe again of the trans-
payments is confirmed by two surviving receipts, the verse flute ...'3° Earlier, Quantz in fact credits the
earlier of which is now in the Dayton C. Miller Col- lowering of the old German choir pitch to the intro-
lection at the Library of Congress. Dated 23 Novem- duction of new standards 'after the French had
ber 1751, it is for 1,100 Reichstaler for four flutes. (At transformed the German cross-pipe into the trans-
the time, according to J. Zimmermann, 100 ducats verse flute, the shawm into the oboe, and the bom-
equalled about 300 talers.) Another receipt, dated 25 bard into the bassoon, using their lower and more
October 1754, is for 1,000 talers for three flutes and agreeable pitch .. .'31 Thus the then rather new addi-
seven concertos.26 The specific amount for the in- tion of a key to the transverse flute was associated
struments as compared to the music is not indicated. from birth with a lower pitch standard; and although
'It is undeniable that the high pitch is much more
penetrating than the low one, ... it is much less
Quantz's preferences as to pitch and sonority pleasing, moving, and majestic.'32
While the more overt special features of Quantz's in- Another aspect of Quantz's concern with pitch is
struments, such as the second key and the tuning linked to the actual tuning of the instrument, a mat-
slide, reflect his concern about obtaining the best ter in which he again differed somewhat from his
possible intonation, the overall size of his flutes, contemporaries. Castilon once more provides a suc-
which are considerably greater than most other in- cinct summary of Quantz's preferences and their
struments of the times, and their larger interior bore, justifications.
reveal his preference for a low basic pitch and a vocal M. Quantz's flutes differ from all others in their tuning. Usu-
ideal of flute sonority. F. D. Castilon begins his de- ally the F on the transverse flute is notflatenough and the FS
scription of Quantz's flutes by noting: 'Firstly, is correct; in his, on the contrary, the F is true and the FS a
Quantz's flutes are longer, of wider bore and thicker little flat. ...
in the wood than ordinary flutes. Consequently they Rarely, if ever, is music written in the key of Fi, either
major or minor, but very often in F major and minor. The Fi
have a tone of more weight, lustiness and sonority, appears but seldom as a tonic, and it is much better to have
but a more limited compass.'27 The dimensions of the F in tune, since it is the keynote of a tonality not only
surviving instruments offer a concrete record of the much used, but one of the most beautiful on the flute. Fi,
inner and outer structure of his flutes.28 when it appears, could easily be tempered by the
embouchure; but as it stands [i.e. on the one-keyed flute] ?'.
Quantz himself provides a considerable amount
remains a bad note.33
of information about his views of pitch standards
and sonority. In discussing the pitch that should Quantz's liking for a low tuning is connected in
be used in tuning an orchestra, he recommends turn with other deliberate choices that affected the
the 'so-called German A chamber pitch' as a mean strengths and limitations of his instruments. Some

EARLY MUSIC AUGUST 1997 433

of the basic elements in his teaching centre around the genuinely good things they have done. My only purpose
the importance of vocal ideals and models. Holding has been to reveal to some extent the reason why present-day
Italian instrumentalists, particularly violinists, have adopted
up good singing as a guide for instrumental perfor-
a style so contrary to good singing style, although a style
mance was certainly not peculiar to Quantz; both which is good and true ought to be universal. Some among
predecessors and successors urged a similar course, them do not lack either knowledge of, or feeling for, that
and arias with obbligato flute parts concretely sug- which pertains to good singing; yet they do not try to imitate
gest the fusion of vocal and instrumental ideals. But it upon their instruments, finding that which they hold
excellent among the singers too poor and too slight upon
Quantz advocated the instrumental embodiment of their instruments. They praise the singer if he sings distinctly
vocal models in much more specific ways than most and expressively, but consider it good to play obscurely and
other teachers. For the kind of sonority that he without expression upon their instruments. They approve of
wanted from the flute, he indicated the ideal of a the singer's modest and flattering execution, while their own
is wild and eccentric. If the singer makes no more embellish-

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lower voice:
ments in the Adagio than the melody permits, they say he
In general the most pleasing tone quality [sonus] on the flute sings masterfully; yet they themselves crowd the Adagio with
is that which more nearly resembles a contralto than a sop- so many graces and wild runs, that you would take it for a
rano, or which imitates the chest tones of the human voice. jocular Allegro, and can scarcely perceive the qualities of an
You must strive as much as possible to acquire the tone qual- Adagio in it any more.37
ity of those flute players who know how to produce a clear,
penetrating, thick, round, masculine, and withal pleasing Quantz's autobiography confirms that he was
sound from the instrument.34 speaking out of extensive personal experience. In
Sonority, however, was only one aspect of the vocal that work he provides many more detailed descrip-
ideal. Quantz also felt that the natural range of the tions of notable singers than he does of instrument-
flute was one that did not far exceed that of the alists. And in acknowledging the influence of the
human voice. Quantz's upper limit in his composi- violinist Johan Georg Pisendel (1687-1755) in the
tions was e"\ although his fingering chart extended formation of his own style, Quantz notes that
to a"", and he provided fingerings for additional Pisendel had studied as a young boy with the
notes up to e"" in his response to his Danish critic great Italian teacher of singing Francesco Antonio
Joachim von Moldenit.35 Unlike later flautists and Pistocchi (1659-1726).38 In addition to Pisendel's
flute makers, Quantz had no desire to extend the influence, he points out that he 'owes not a little
upper limits of his instrument. He criticized the to the attention that I have always paid to good
excessive use of the upper register even on the singers, especially in matters of taste'.39 Speaking
violin, where the high notes could be sounded of the wealth of his musical experiences in Dresden,
with a much more agreeable quality than on the he adds: 'The beautiful church music, the excellent
flute. Speaking of contemporary Italian violinists, operas, and the exceptional virtuosos in singing
he said: which I could hear in Dresden brought me ever new
They seek the greatest beauty at the very place where it is not pleasures and constantly set me on fire.'40
to be found, to wit, the extremely high register, or at the end
of the fingerboard; they climb about in the high register like
somnambulists upon the rooftops, and meanwhile neglect
Changing views after Quantz
the truly beautiful, depriving the instrument of the gravity Some of Quantz's teachings transcend the time in
and agreeableness which the thick strings are capable of which he lived, and remain as pertinent today to
giving it.36
performance as they were when he wrote them.
After discussing the strengths and weaknesses of Certain of his ideals with regard to flute sonority,
Vivaldi and Tartini, Quantz summarized his criti- pitch, range and style of performance, however,
cism in a way that showed how specifically he held were already under attack in the latter decades of
to the ideals of good singing in many other aspects the 18th century. The clearest and most vehement
of performance. challenges are found in the Bemerkungen iiber
I have not cited these two celebrated and, in more than one die Flote, und Versuch einer kurzen Anleitung zur
respect, worthy men to assess their merits, or to disparage besseren Einrichtung und Behandlung derselben

434 EARLY MUSIC AUGUST 1997

(1782) by Justus Johannes Heinrich Ribock same vocal ideal as that espoused by Quantz and the
(1743-C.1785), a physician who also took a serious singers of the earlier part of the century.
interest in possible improvements in the flute. Tromlitz also differed from Quantz in a number
Ribock criticizes Quantz's instruments on virtually of specific matters connected with the structure of
all grounds. Their tone is 'hollow and like a hunting the flute, such as the use of a tuning slide in the head-
horn', and is mistakenly called 'full'.41 The actual piece. He claimed that one could be better used in
fullness of the tone is variable and inconsistent. The the foot.44 He continued to advocate Quantz's sec-
instruments have no very high register, and 'speak ond key, and went on to experiment with the addi-
with difficulty above e'".' 'Herr Kirst in Potsdam tion of many other keys. His flutes, too, mark a new
[i.e. Friedrich Gabriel Kirst (c.1750-1806)], although era. What is perhaps surprising, however, is that
he is supposed to be a pupil of Herr Grenser [prob- Quantz's Versuch was reissued in a second edition in

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ably Carl Augustin Grenser (1720-1807)] now works 1780, two years before Ribock's study, and in a third
wholly in accordance with Quantzian manner and edition in 1789. Tromlitz's Ausfiihrlicher und
measure',42 and his instruments have most of the griindlicher Unterricht die Flote zu spielen, the most
same problems. Although Kirst has attempted to important new work on the flute from the end of the
improve the Quantz model by making the rim of century, appeared only in 1791, and still owed a very
the mouth hole less blunt, a tendency to hiss or substantial debt to its predecessor, in spite of the
'whisper' has resulted.43 many changes that had taken place in the instrument
Ribock shows a clear preference for a high basic and its music in the intervening years.
pitch, and for the flutes of Grenser and Tromlitz. Al- Although it is tempting to see the history of
though some of his comments, such as that about instruments in terms of mechanical 'improvements'
the range of Quantz's flutes, have some actual basis, in their manufacture—and there has been a strong
one must approach Ribock's statements with care. tendency to link these developments with techno-
His views obviously reflect changes in taste with re- -logical progress—Quantz's flutes suggest that at
gard to flute tone, pitch, the use of a more extended times musical ideals and goals may be much more
upper register and—not least—new styles of com- influential, and may guide the shaping of instru-
position in the latter part of the 18th century. Ribock ments more specifically and concretely than is often
still upholds a vocal ideal, but it is no longer the realized.

This article was begun some years ago Nicolai were familiar with each other entworfen', in F. W. Marpurg, Histor-
for a proposed catalogue of the Dorothy through their membership in a Friday isch-kritische Beytrage zur Aufnahme
and Robert Rosenbaum Collection, in evening club, which also included the der Musik, i (1755), p.239. A facsimile
Scarsdale New York, which included a poet Ramler (1725-98) and the greatest of this work appears in W. Kahl,
Quantz flute. It draws on my earlier literary figure of the period, Lessing Selbstbiographien deutscher Musiker des
discussion in E. R. Reilly, Quantz and (1729-81). A letter from Quantz to XVIII. Jahrhunderts (Cologne, 1948),
his Versuch: three studies (New York, Nicolai is reproduced in the article pp.104-57, and an English translation
197')- on Quantz by Fritz Bose in Musik in in P. Nettl, Forgotten musicians (New
Geschichte und Gegenwart, x (Kassel, York, 1951), pp.280-319. The references
1962), cols. 1,799-1,800. It is not in this study, however, are newly trans-
1 'Die Quanzische [sic] tiefe Stimmung
certain, however, whether Nicolai lated. For Quantz's report on the addi-
wird nicht mehr gebraucht; weg sind
is always reporting from his direct tion of the second key in his Versuch,
mit ihr sind Quanzens Floten,
experience in his references to Quantz, see Quantz, On playing the flute, ed.
Quanzens Koncerte [sic] und die wahre
or whether he obtained some of his and trans. E. R. Reilly (London,
Art sie zu spielen, ohne welche sie
material from other members of the 2/1985), pp.31, 46. For an extensive list
unbeschreiblich verlieren. Vielleicht
circle or the court musical establish- of the various editions and translations
sind jetzt nicht mehr drey Personen in
ment. of the Versuch, see part 1 of the biblio-
Berlin, welche die Art sie zu spielen
noch kenne.' C. F. Nicolai, Anekdoten graphy of this translation. Since
von Kb'nig Friedrich II. von Preufien, 2 '... liefi ich zum erstenmale, der reprints of the Versuch are numerous
und von einigen Personen, die um ihn Flotetraversiere die zweyte Klappe and easily obtainable, 1 have not repro-
waren, 6 vols. (Berlin and Stettin: F. zusetzen.' 'Herrn Johann Joachim duced the original German texts of the
Nicolai, 1788-92), vi, §70. Quantz and Quantztens Lebenslauf, von ihm selbst passages that I quote here.

EARLY M U S I C AUGUST 1997 435

 3 Quantz himself reports that when he MGG by F. Bose, cited in n.i above,
FOLKEK5 & POWELL first attempted to become acquainted cols. 1,803-4.
with Alessandro Scarlatti that Scarlatti
told their mutual friend J. A. Hasse 10 Quantz, On playing theflute,p.32.
www. baroqueflute.com
'My son ... you know that I cannot 11 '... vermittelst dessen man dieselbe,
endure players of wind instruments: ohne Wechselung der Mittelstucke,
they all play out of tune.' ('Mein Sohn und ohne der reinen Stimmung Ein-
... ihr wisset, dass ich die blasenden trag zu thun, um einen halben Ton
Instrumentisten nicht leiden kann: defer oder hdher machen kann'.
denn sie blasen alle falsch.') After hear- Quantz, 'Lebenslauf', pp.248-9.
ing Quantz, however, he wrote a pair
of flute sonatas for him. See Quantz, 12 Quoted in Halfpenny, 'A French
'Lebenslauf, p.228. commentary on Quantz', p.65.
Our QUANTZ flute
4 For a helpful introduction to matters 13 Halfpenny, 'A French commentary
is based on originals on Quantz', p.66.

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of pitch during Quantz's day and in the
, in Berlin, Hamamatsu, following period, see J. H. Chesnut,
Washington DC, and a 14 'I Flauti dei quale il Re [sijserve,
'Mozart's teaching of intonation', ed i miei proprii ho fabrricati a modo
German private Journal oftheAmercian Muskological mio, e gli intono io medesimo'.
collection. Society, xxx (1977), pp.254-71. Unlike Quantz, untitled autograph account of
many other discussions of pitch, that of his life for Padre Martini, dated Berlin,
We pay attention Chesnut does not limit itself to the
14 April 1762, in the Civico Museo
consideration of keyboard instru-
Iti replicating the details Bibliografico Musicale, Bologna.
ments. On the persistence of this
that give Quantz's flutes Item 4234 in A. Schnoebelen, Padre
approach to tuning in the work of
their powerful tone, Martini's collection of letters in the
Tromlitz, see also Ardall Powell's com-
Civico Museo Bibliografico Musicale in
pure intonation, and mentary to his translation of Johann
Bologna (New York, 1979). Although
clear high and low Georg Tromlitz, Ueber die Fldten mit
this account coincides in part with the
registers. mehrern Klappen; deren Anwendung
'Lebenslauf, there are some differ-
und Nutzen (Leipzig, 1800), as The
ences between the two works.
keyedflute(Oxford 1996), pp.42-4,53.
; a7rj92 and/or 415
15 '... eine, von mir ausgebohrte und
headjoint tuning slide 5 'Wegen Mangels guter Fldten fieng rein abgestimmte Fldte traverso, wie
D # and E4 keys ich im Jahre 1739 an, selbst welche zu selbige in meinem Versuch die Fldte
screw-cork. bohren, und abzustimmen...': zu spielen, beschreiben, zu bekommen
Quantz, 'Lebenslauf, p.247. ist, und zwar von Buchsbaum mit 6
6 Quantz, 'Lebenslauf, pp.248-9. Mittelstucken a 7 Louisd'or [sic],
Besides Quantz flutes, Vom Ebenholtz, habe ich noch bis
7 A. Mahaut, Nieuwe manier om dato, aufier an Sr. K. Maj: keine weg
ive make instruments afte?:','r binnen korten tyd op de dwarsfluit to gegeben.' Listed as item 775, p.89, in an
Hotteterre, Leclerc/Fortier,"' leeren speelen I NouveUe Mithode pour auction catalogue for 21-3 May 1909 by
. fBressan, Rippert, Naust, apprendre en peu de temps a jouer de the Berlin dealer Leo Liepmannsohn.
Eichentopf, Haka. la flute traversiere (Amsterdam: J. J.
Rottenburgh, Denner, Hummel, and Paris: La Chevardiere, 16 That is, by properly selecting the
1759; R/Geneva, 1972); trans. P. E. appropriate middle piece, and adjust-
Lot, Grcnscr, P.ilanci, ing the plug and tuning slide.
Durichen in Divisions: a journal of the
Boie, and Tromlitz.
art & practice of early musk, i/i (Sep 17 'Quanz hatte schon in Dresden viele
1978), pp.19-34. and i/2 (Dec 1978), Bemerkungen liber die reine Temper-
pp.28-46; also trans. E. Hadidian as A atur der Tone auf der Fldte gemacht.
Catherine Folkers and Ardal Powell new method for learning to play the Er wufite wie schwer es ist, auf diesem
Makers of Historical Flutes transverseflute(Bloomington, IN Instrumente rein zu spielen; er suchte
1989). diesem Mangel abzuhelfen, liefi seine
49 Route 25
Hudson NY I25J4-9SO8.USA 8 E. Halfpenny, 'A French commen- Fldten aus dem besten Holze mit
tary on Quantz', Music and letters, grosser Sorgfalt drehen, theilte
xxxvii (1956), pp.61-6. nach[h]er die Stimmung selbst sehr
Tel: + 1 518 828 9779 genau ab, and bohrte die Ldcher der
Fax: + 1 5I8 822I416 9 Quantz, On playing the flute, Fldte selbst. Aber er behauptete als-
pp.42-3. An autographfingeringchart denn auch, das mit einiger Vorsicht,
[email protected] by Quantz, used by Frederick the die Fldte in sich selbst rein gestimmt
Great, is reproduced in the article in seyn und bleiben musse; (Der Kdnig

436 EARLY MUSIC AUGUST I 9 9 7

liefi fur Quanzen zuweilen Stammer bis zu Meiner Retour.' Friedrich II,
von allerhand Arten fremden harten Briefe an Fredersdorf (Berlin, 1926),
Holzes kommen; Quanz probierte alle p.56.
Arten, und fand das Ebenholz als das
vorziiglichste; und noch unterschied er 22 'Hihr schike [ich] Dir einige Stiicke,
So von Meiner guhten flote wieder-
FLUTES
sehr unter Ebenholz und Ebenholz in
Absicht der Brauchbarkeit zu Floten. gefunden worden, gebe es an quantz,
dass er die andern [TheileJ dazu
after
Er versicherte mir, dass ein Stamm
Ebenholz, den der Konig im J. 1766 aus
Portugal erhalten und ihm zum
wieder-mache.' Friedrich II, Briefe an
Fredersdorf, p.58. QUANTZ
Geschenk gemacht hatte, der beste 23 'Die Flote von quantz habe [ich]
ware, den er je gehabt habe.)' Nicolai, gekrigt, sie ist aber nicht recht guht. ich
Anekdoten, vi, § 71. The parentheses are habe quantzen eine in Verwahrung and
Nicolai's. gegeben, die ist besser. Gib sie mihr
in berlin ...': Friedrich II, Briefe an many other

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18 Quantz, On playing the flute,
Fredersdorf, p.58.
PP-34-5-
24 'In der vierziger Jahren, wo de
masters
19 '... selbst hat nie etwas an Floten Konig noch am lebhaftesten war, hatte
gemacht, sondern er sagte nur seine Er von Quanz eine neue Flote bekom- ofthe
Meynbung den Instrumentenmacher, men. Sie schien Ihm nicht recht zu
der fur ihn arbeitet...' 'Ich habe schon gefallen, und nachdem er einigemal 18th century
gesagt, dass Quanz keine Floten mit darauf gespielt hatte, sagte Er zu
eigener Hand gemacht sondern seine Quanzen, die Flote sey nicht recht rein. S©
Gedanken nur angegeben habe.' Das hiefi Quanzen von der Seite Ange-
Tromlitz, Ueber die Floten mit griffen, wo er am empfindlichsten war. made to
mehreren Klappen, pp.132-3, and The Quantz argerte sich innerlich, aber ver-
keyed flute, pp.168-9. The translation
in the text, however, is mine. Ardall
theidigte die Flote. Der Konig schien your order
zufrieden zu seyn; aber den folgenden
Powell, in The keyed flute, pp.239-42,
has uncovered and translated another
Tag erneuerte er die Klage. Quanz
nahm dem Konige die Flote aus der
with
article by Tromlitz, 'Abhandlung Hand, spielte selbst darauf, und ver-
iiber den schonen Ton auf der Flote' sicherte, die Flote gebe all Tone rein I • care
(published in the Allgemeine musika- an. Der Konig behauptete, selbst von
lische Zeitung, Jan 1800), in which Quanzen gespielt, sey sie unrein. Diess by
Tromlitz goes so far as to say 'Since war mehr als Quanz vertragen konnte.
Quanz was not an educated man, he
cannot have written his book: Essay of
Er kam aufier Fassung; es entstand ein FRIEDRICH
kleiner Wortwechsel, und Quanz sagte
a Method of Playing the Flute himself,
but he had to entrust it to a man of
endlich mit Heftigkeit: "wenn ein von
grosser Herr es vertragen konnte die
letters who had much musical know-
ledge' (p.242). It seems quite likely that
Wahrheit zu horen; so wurden Ew. HUENE
Majestat gleich wissen, daS es nicht an
Quantz would ask for advice and criti- der Flote liegt, und voran es liegt." Der
cism when writing the Versuch, but to Konig trat ein paar Schritte zuriick und
suggest that he had to entrust the sagte etwas heftig: "Wie? Was? Ich
actual writing to someone else because sollte die Wahrheit nicht vertragen
of the lack of formal education says konnen? Sage Er was 'wahr' ist". Quanz
more about the arrogance of Tromlitz sagte ganz trocken und verdrieBlich:
than the actual facts of the matter. "Ich habe Ew. Majestat mehrmals
gebeten, Sie mochten die Flote, nach-
20 'Auch Quantz ist hier; er ist im dem Sie gespielt haben, nicht in die
Ansatz viel starker geworden. Seine Hand, oder unterm Arm nehmen, son- 65 Boylston Street
Floten macht er sich selbst; das mag dern sie auf den Tisch legen; Sie thun
wohl dazu beitragen.' Quoted in Kahl, aber jenes doch, und die Flote klingt Brookline, MA
Selbstbiographien, p.276. unrein, weil sie ungleich erwarmt wird, USA 02146
nicht weil sie an sich unrein ist". Der
21 'Quantz Sol mihr doch 2 Neiie Konig, sehr pikirt, antwortet: "Es ist Tel. 617.277.8690
Flothen Machen, aber recht extraordi- nicht wahr!" und kehrt sich um.
naire, eine Mit den Starken Thon, und Fax 617.277.7217
eine die Sich Leichte blasset und eine 'Der Konig spielte die folgenden
Douce hohe hat, und Sol sie behalten Tage auf einer anderen Flote, sah aber

EARLY MUSIC AUGUST 1997 437

Quanzen nicht an und sprach kein no.208, with bore graph and X-ray; and 36 Quantz, On playing the flute,
Wort mit ihm: Quanz hingegen gab J. Solum, The early flute (Oxford, 1992), pp.325-6.
dem Konige kein Bravo! So ging es pp.39-49. The Rosenbaum Quantz
ungefahr acht Tage. Da kam der Konig flute mentioned in n.i above was 37 Quantz, On playing the flute, p.325.
beym Anfange des Konzerts auf acquired as part of the Rosenbaum col-
Quanzen zu, und sagte mit freund- lection by a Japanese consortium and is 38 Quantz, 'Lebenslauf, pp.210-11.
licher Miene: "Mein lieber Quanz, ich now in storage in Hamamatsu. For the
habe die Flote seit acht Tagen auf ver- dimensions of that instrument, as well 39 Quantz, 'Lebenslauf, p.211. 'Die
schiedene Art untersucht und habe as photographs of it, see L. Libin and Aufmerksamkeit, die ich jederzeit auf
nun gefunden, dafi Er Recht hat. Ich R. A. Lehman, Historic flutes from pri- gute Sanger gewendet, habe ich gleich-
werde die Flote nicht mehr in der vate collections (New York, 1986). In fals in dem, was den Geschmacke
Hand warm werden lassen". Diese 1995 a previously unknown Quantz anbetrifft, nicht wenig zu danken.'
Geschichte erzahlte mir Quanz selbst. flute appeared in an auction of the col-
So geringfugig sie scheinen mochte, lection of the Margrave of Baden; it is 40 Quantz, 'Lebenslauf, p.245. 'Die
konnte sie doch vielleicht ziemlich described together with another flute schbne Kirchenmusik, die vortreflichen
Opern, und die ausnehmenden Virtu-

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charakteristisch seyn.—Der Fall, dafi in the Leipzig Instrumenten-Museum
grofien Herren geradezu und derb in E. Dehne-Nieman, 'Zum 300. osen im Singen, welche ich in Dresden
die Wahrheit gesagt wird, und die Geburtstag: zwei unbekannte Quantz horen konte, brachten mir immer
Art, wie sie sich in so seltenen Fallen Floten neu entdeckt', Tibia, xxii (1997), neues Vergniigen , und setzeten mich
benehmen, lafit viel auf ihre einnere pp.365—6. In a supplementary report in immer in neues Feuer'.
Besinnung schliefien'. Nicolai, the following issue of Tibia, the same
Anekdoten, vi,§7i. author further identifies the Leipzig 41 'Sehr hohl und waldhornisirend ...';
flute as one that before World War II '... fiir voll misskannt': Ribock,
was in the Hohenzollern-Museum in Bemerkungen iiber die Flote (Stendal:
25 '... hundert Dukaten fur jede Flote D. C. Franzen und Grofie, 1782), p.32.
die ich liefern wiirde ...': Quantz, Berlin. Some modern makers of rep-
licas of Quantz-style flutes include For additional information on Ribock,
'Lebenslauf', p.248. see Ardall Powell's introduction to
Friedrich von Huene, Folkers and
Powell, Philippe Allan-Dupres, Stefan Tromlitz, The keyed flute, pp.20-22
26 J. Zimmermann, 'Die Flotenmacher
Friedrichs des Grofie', offprint from Beck and Jean-Francois Beaudin.
42 Ribock, p.32."... Und vom e'"an
the Zeitschrift fur Instrumentenbau schon schwer anspricht ..." 'Herr Kirst
(Breslau, 1940), p.13. The receipt men- 29 Quantz, On playing the flute, p.268. in Potsdam, ob er zwar ein Schiiler von
tioned is reproduced in the same work, Herrn Grenser sein soil, arbeitet ietzt
p.12, and also in H. Kolbel, Von der 30 Quantz, On playing the flute, p.268. ganzlich nach quantzische Art und
Flote (Cologne, 1966), p.149. The loca- Mesur.' Other possible members of
tion of the second receipt is unknown 31 Quantz, On playing the flute, p.267 the Grenser family are Carl Augustin
to me. It was advertised in a sale Grenser jun. (1756—1814) and Johann
catalogue for 20—21 November 1978 32 Quantz, On playing the flute, p.268. Heinrich Welhelm Grenser (1764-
at Sotheby's. 1812), although the last seems improba-
33 Quoted in Halfpenny, 'A French ble because of his age. Once again, for
27 Quoted in Halfpenny, 'A French commentary on Quantz', pp.65-6. The further material on the Grenser family
commentary on Quantz', p.65. keys of Quantz's sonatas and concertos and on Kirst, see Ardal Powell's essay
confirm Castilon's remarks about the 'Flutemaking in the late eighteenth
28 On surviving flutes by Quantz, see frequency of F major as compared to Ft century', in Tromlitz, The keyed flute,
G. Miiller. 'Die Quantz'schen Konigs- major and minor. F minor, however, is pp.177-218. It is by far the most
Floten', Zeitschrift fur Istrumentenbau, not used 'very often'. important recent exploration of the
lii (1932), pp.248—41; Reilly, Quantz and subject.
his Versuch, pp.103-4; the manuscript 34 Quantz, On playing the flute, p.50.
notes of Dayton C. Miller in the See also M. Zadro, 'Quantz and flute 43 Ribock, p.33, 'Lispeln'.
Library of Congress on the Quantz tone in Prussia', Divisions, i/4 (no
instruments that he examined (and in month, 1980), pp.32-6. 44 J. G. Tromlitz, Ausfiihrlicher und
one case purchased) in Europe before griindlicher Unterricht die Flote zu spie-
World War II; F. von Huene, 'Six 35 Quantz, 'Hrn. Johann Joachim len (Leipzig: A. F. Bohme, 1791; RJ
Quantz flutes', Continuo, an early Quanzens [sic] Antwort auf des Herrn Amsterdam, 1973), p.23. For further
music magazine, x/3 (Feb 1980), pp.9ff.; von Moldenit gedrucktes so genanntes references to specific aspects of
M. Seyfrit, Musical instruments in Schreiben an Hrn. Quanz nebst einigen Quantz's flutes, see especially pp.14,19.
the Dayton C. Miller Collection at the Anmerkungen iiber dessen Versuch An excellent English version of the
Library of Congress: a catalogue, i: einer Anweisung die Flote traversiere entire work appeared as The virtuoso
Recorders,fifes,and simple system zu spielen', in F. W. Marpurg, Histor- flute-player, trans. A. Powell with
transverse flutes of one key (Washing- isch-kritische Beytrage zur Aufnahme an introduction by E. Hadidian
ton, DC, 1982), Quantz flute listed as derMusik, iv (1759), p.187. (Cambridge, 1991).

438 EARLY M U S I C AUGUST 1997

 JOHANN J. QUANTZ 1697 -1773
TITLES FEATURED IN THE MUSICA RARA EDITION, FRANCE
THIRTEEN DUOS FOR FLUTE AND BASSO JOHANN J. QUANTZ
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TRIO SONATA IN D FOR 2 FLUTES AND
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CONCERTO IN D MINOR

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Flute and Piano Reduction £7.50
Score and Parts £9.80
CONCERTO NO 1 IN G MINOR
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EARLY MUSIC AUGUST 1997 439

 Announcing a new series
IT ORPHEUS IT ORPHEUS
TASTAR DE CORDE
il liuto traslitterato per tastiera EDIZIOM

First publication
GIOVANNI GIROLAMO KAPSPERGER
INTAVOLATURA DI LIUTO. LIBRO PRIMO (Roma, 1611)

Downloaded from http://em.oxfordjournals.org/ at Simon Fraser University on May 30, 2015

transliterated into staff notation by
Kenneth Gilbert
This important work, essential to
an understanding of Italian instru-
mental style in the early XVIIth cen-
tury, has been available until now
only in facsimile editions of the origi-
nal lute tablature. It contains eight
IL LIUTO TRASLITTERATO PER TASTIERA
toccate, twelve galliarde and twelve
correnti, constituting Kapsperger's
only surviving lute book.
Kenneth Gilbert, using a newly
Giovanni Girolamo Kapsperger elaborated technique of transcrip-
tion, has sought to make the work
Intavolatura di liuto available for study and performance
on keyboard instruments (harpsi-
Libro primo chord, clavichord, Lautenwerk) as
well as on baroque harp and bass
a cura di Kenneth Gilbert viol.
The Preface (in Italian, English
and French) outlines the transcrip-
tion method used throughout the
series and provides a brief note on
the composer and the work, together
with critical notes, facsimiles, trans-
.EDIZIOM literation tables and a selected bib-
liography.
Lit. 35.000

UT ORPHfcUS ED1ZIONI
Palazzo de' Strazzaroli - Piazza di Pona Ravegnana 1
40126 BOLOGNA - ITALY
TEL. 39/51/225468
FAX 39/51/239295
www.utorphcus.com

440 EARLY MUSIC AUGUST 1997