Accordez vos flûtes: the Renaissance Flute in Performance

A presentation of three aspects of the renaissance flute, with performed and recorded examples of music by Cabezon, Benedictus Appenzeller and Heinrich Schütz.

Opening with a performance of Clemens non Papa/Cabezon's 'Cancion francesa' (arr. Hadden), this talk argues for the vocal qualities of the renaissance flute in the context of renaissance theorists' ideal of the imitation of the human voice by wind instruments.

2'50": A discussion of the instrument's organology focuses on the difficulty of conducting practice as research with inadequate modern copies which depart from the original designs, with bores, finger holes and tuning that bespeak the Baroque rather than the Renaissance.

10'33": An introduction of two areas of repertoire, showing the Renaissance flute in different ensemble contexts. 1) 1530s French chanson: the flute consort as quasi vocal ensemble. 2) 1630s German sacred concerti with mixed ensemble.

13'10": Benedictus Appenzeller, 'Le printemps' for flute consort, from Attaignant's 'Vingt-sept chansons musicales' (Paris, 1533) [Private recording]

20'26": Heinrich Schütz, 'Anima mea liquefacta est', from Sinfoniae sacrae (1629). [From recording CRD 3516]

All pieces performed on flutes commissioned by the author from flute-maker Martin Wenner, copied from instruments from the Accademia Filarmonica Verona.