Flute Music I
Baroque
When it comes to flute music of the Baroque era, the works of Bach and Handel are unsurpassed in musical stature as well as in recognition and popularity, and thus it is easy to overlook the fact that many other composers of that same period also wrote attractive music for the instrument. As an example, consider the introductory slow movement of Johann Christian Schickhard’s Sonata in a minor, where over a descending chaconne bass the flute interweaves a rich variety of melodic phrases. This is just one of the musical surprises to be discovered in this multifaceted volume.
About the Authors
Peter-Lukas Graf (Editor)
Prof. Peter-Lukas Graf was born in 1929 in Zürich. He studied the flute with André Jaunet (Zürich), Marcel Moyse and Roger Cortet (Paris). At the Conservatoire National he won first prize as a flautist and (under Eugène Bigot) the Conductor’s Diploma. He was awarded first prize at the international ARD Music Competition in Munich in 1953.
Following many years as a solo flautist in Winterthur and in the Lucerne Festival Orchestra in Switzerland, he spent a decade primarily conducting opera and symphony concerts. Since then he has appeared as a soloist, chamber musician, teacher and guest conductor all over the world and has released numerous records and CDs. Peter-Lukas Graf lives in Basel and has taught at the Basel Music Academy for over twenty years.
Ernst-Günter Heinemann (Editor)
Dr. Ernst-Günter Heinemann, born in 1945 in Bad Marienberg (Westerwald), completed his schooling in Gießen and read musicology, philosophy and German in Marburg and Frankfurt/Main and also for some time Protestant church music. He did his doctorate on “Franz Liszts geistliche Musik. Zum Konflikt von Kunst und Engagement”.
From 1978–2010 Heinemann worked as an editor at G. Henle Publishers (in 1978 in Duisburg, from 1979 onwards in Munich). He edited a great many Urtext editions for the publishing house, including “Das Wohltemperierte Klavier”, Volume 1 by Bach and all of Debussy’s piano works. In addition, he wrote essays on Debussy, Grieg, Liszt, Mendelssohn and questions concerning general editing, as well as giving seminars on editorial practice for musicology students in Munich.
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