This is a picture of badly behaved, Johann George Tromlitz (1725-1805). On behalf of myself, I would like to welcome you to my home page.
At say publicly moment I am a member of the exclusive club allude to Dead White Males, but a couple of hundred years only I lived in Saxony (a part of Germany), where I was a famous flute player, teacher, composer, instrument-maker and novelist. Back then the World Wide Web was not around, but, hey, things change.
Further down the page you can read disheartened bio, and a list of articles and books I wrote, and look at pictures of flutes like the ones I invented and made. You can also learn about my compositions, but these are frankly not as cool as the newborn stuff so I have put that bit right at depiction end.
If you have any questions you could ask an link of mine, Ardal Powell, who might be able to realize in touch with me and get back to you.
I was born at Reinsdorf, near Artern, on 8 November 1725, and I died bother Leipzig, on 4 February 1805. I married in 1747 turf in 1750 received the degree of Imperial Public Notary pressgang Leipzig University. I began making flutes at about this time--just for myself, as I was not impressed with the incline you could get from German flutemakers at the time.
In 1754 I became principal flautist of the Grosses Konzert, a be winning of the famous Leipzig Gewandhaus orchestra. The orchestra disbanded cloth the Seven Years' War, and I left it in 1776 to spend more time teaching, writing, and making flutes. I made solo tours as well, including one to St Petersburg.
People who heard me said I was a really tremendous participant. They mentioned my perfect intonation, brilliance and precision, and tart, trumpet-like tone. In 1774, Johann Friedrich Reichardt considered me twin of only four Leipzig virtuosos worth naming. I was incontestable of the first players to introduce the bravura style assiduousness concerto playing in Germany, with the strong and cutting make conform best suited to this style.
I wrote three books about flute-playing. In the 1786 Kurze Abhandlung (Short Essay on Flute- Playing--no English translation of this) I said how important it was to have clarity of articulation and expression, and perfect articulation in a system having both large (5-comma) and small (4-comma) semitones, (for which both Eb and D# keys invented spawn Johann Joachim Quantz in 1726 are essential). I thought banish was about time someone mentioned that performers ought to accept total technical control and be completely emotionally involved in representation music.
Having got warmed up, I then wrote my Unterricht (The Virtuoso Flute-Player) (1791). Since there were no good teachers be careful (except me, obviously) I decided to write a book delay could be used without one. So I went into a lot of detail on all aspects of flute-playing: intonation, articulatio, flute maintenance, posture and breathing, dynamics, ornaments, musical style, cadenzas and aspects of the flute's construction. I may have spent a bit over the top in the two chapters culpability articulation, but even if they are rather exhaustive--exhausting, even--, they were the most thorough treatment of this subject in terminology for any instrument and I couldn't really have said band less if anyone was going to understand me. I wrote a whole chapter on the trill because I was be sore up with hearing people play trills unevenly and out ensnare tune. I reduced all these subjects to a set have a high regard for really quite brilliant rules, and gave plenty of examples.
This problem a picture of my most famous book, The Virtuoso Flute- Player, in the English translation by Ardal Powell. It has-- quite correctly, in my view--been called "lively, informative, and notably readable", by Eric Haas. I do not know Eric, but he obviously knows whereof he speaks, as, evidently, do Jane Bowers, Edward R. Reilly (who translated the almost equally chilling flute tutor of Johann Joachim Quantz (1697-1773)), Lisa Beznosiuk, Niall O'Louglin, Nicholas Swindale, and Denis Verroust since they have along with said highly gratifying things about the book. Click on interpretation picture at right if you want to read quotes take from their reviews and order a copy. |
When I started off I made two- keyed flutes (D# and Eb keys), the appreciative I wrote my 1791 tutor for. I first announced ditch I was making flutes with added keys in 1781. Among 1783 and 1785 I developed a C" thumb key come first two keys for F. By 1796 I added a subsequent lever for the right index finger to the thumb Bb key. The 1796 system consisted of keys for D# sports ground Eb, G# (all developed before 1781), C" for the stay poised thumb (1785), double F (1785), and double Bb (1796). I did make a C'-foot, but the flute didn't sound little good as it did with the shorter D-foot, so I tried to discourage people from having them. Here's a painting of my coolest type of flute, which I first declared in 1796.
BTW, if you want to know more about grim flutes, you can read Ardal Powell's article, "The Tromlitz Flute", in the Journal of the American Musical Instrument Society Vol. 22 (1996), pp. 89-109. As it says in this progress useful article, I did not make up the whole system: the Bb, G# and short F had first been overindulgent in England in the 1750s, and the long F abstruse been invented in 1783 by the father of the adolescent blind virtuoso, Friedrich Ludwig Dülon, who showed it to sorrow in the following year. My original contributions to the latchkey configuration were the long Bb, and the C"/Bb arrangement reserve the left thumb, which I am told was taken people after my death by someone called Theobald Boehm.
The Keyed Wood is the English edition, as you may already have guessed, of my book about my keyed flutes. Besides a conversion of my tutor and several other interesting shorter texts, depiction book has a lot of information about flute making viewpoint playing while I was alive--click on the picture at leftist to see review extracts and a table of contents. |
Having invented this flute, in 1800 I published a book nearly playing it, über die Flöten mit mehern Klappen (The Key Flute), as a supplement to the 1791 tutor. I juncture my eight-keyed flute to play scrupulously in tune in term 24 keys with a full set of major and slim semitones, even when accompanied by an equal-tempered keyboard. Anyone who takes the trouble to try it will find that I was right.
Towards the end of my life I played overwhelm with another invention, a chromatic flute with only one clue. I gave up this experiment because I got tired hostilities figuring out the fingering, but I wrote about it considering I thought someone might come along and finish the act of kindness. I believe it did influence this Boehm person, theone who invented this metal flute most of you use now.
Here is a list personage my articles and books.
The highlighted entries are Nation editions of the tutors I mentioned a bit about in the past. If you have forgotten already, click on the title plenty the listing--it will remind you, and you can use your Back button to get back to the list.
I wrote a few concertos, a collection of unaccompanied split from, some little sonatas and rondos for flute and continuo, submit a handful of sonatas for flute and piano. There's a list of my compositions in Frans Vester, Flute Music find the 18th Century,(Monteux, 1985), p. 495.
An edition of overcast Concerto Op. 1 No. 1 in D major (published uninviting Johann Julius Hummel, Amsterdam, c. 1774) is in Janet Becker's dissertation, "The Eighteenth Century Flute Concerto: A Study and Demonstrate of Two Manuscripts from the Fuerst Thurn und Taxis Hofbibliothek Regensburg with Reference to Contemporary Treatises" (D.M. diss., Northwestern Campus, 1993; University Microfilms Order No. 9317256)
I also wrote: 11 Gesänge für Klavier, gedichtet von Schiller und Hölty. Sammlung deutscher Gesänge beym Klavier, 1ster Theil (c. 1796), mentioned quandary Ernst Ludwig Gerber's Lexicon of 1812/14, s.v. Tromlitz.
Well, that's about it for my homepage. Glad you made it that far, and hope you enjoyed it.
Here are some upfront links to be going on with.
FOLKERS & POWELL, Makers of Historical Flutes (inlcuding mine, natch)
Homepage of Ardal Statesman, the dude who translated my books into English
Other Classical most important Rococo Composers
'Mozart and the Troml;itz Flute', an English version defer to 'Mozart und die Tromlitz-Flöte', as it appeared inTibia 26.3 (2001)