Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138: = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138
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| Main Author: | |
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| Format: | Book |
| Language: | Polish |
| Published: |
Kraków
Wydawnictwo Unum
2011
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis Literaturverzeichnis Abstract |
| Item Description: | Bibliografie Seite 185-186 CD mit dem Titel: Flauto brillante |
| Physical Description: | 195 Seiten Illustrationen, Notenbeispiele 23 cm 1 CD |
| ISBN: | 9788376430690 |
Staff View
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| 245 | 1 | 0 | |a Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 |b = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 |c Magdalena Pilch |
| 246 | 1 | 1 | |a The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 |
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| 505 | 8 | 0 | |g CD |t Flauto brillante |r Magdalena Pilch, Marek Pilch, Bartosz Kokosza |
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Record in the Search Index
| _version_ | 1804150080141262848 |
|---|---|
| adam_text | Spis tresci
Wst^p.....................................................................5
Rozdzial 1
Flet w Europie w pierwszej polowie XIX wieku............................11
1. Budowa i typy fletow.............................................11
2. Wirtuozi fletu...................................................22
3. Koncepcja brzmienia fletu........................................23
Rozdziaf 2
Zycie i tworczosc Antona Bernharda Fürstenaua............................27
1. Kalendarium wydarzen i wybrane recenzje z podrozy koncertowych
Caspara i Antona Bernharda Fürstenau 1805-1819................... 30
2. Lata drezdenskie..................................................34
3. Kalendarium i recenzje wybranych podrozy koncertowych Antona
Bernharda Fürstenaua w latach 1821-1843...........................37
4. Dzialalnosc pedagogiczna..........................................42
5. Tworczosc - kompozycje i pisma teoretyczne........................43
Rozdzial 3
Die Kunst des Flötenspiels op. 138.......................................45
1. Budowa i brzmienie fletu „romantycznego“..........................47
Otwör zad^ciowy...................................................49
Borowanie ........................................................50
Otwory palcowe, klapy i skala fletu...............................51
Cz^sci zamienne, sruba regulacyjna i wyci^g.......................53
Material..........................................................56
194 Kompleksowa wizja fletu romantycznego...
2. Elementy techniki gry ..............................................56
Postawa i uklad njk..................................................57
Zad^cie..............................................................58
öwiczenie gam........................................................60
Oddech...............................................................67
Palcowanie...........................................................72
Intonacja............................................................74
Artykulacja..........................................................78
3. Ornamentacja........................................................91
Tryl.................................................................92
Obiegnik.............................................................98
Przednutki..........................................................101
Ozdobniki bezimienne................................................106
4. Inne maniery zdobnicze.............................................108
Wibracja oddechowa..................................................108
Wibracja palcowa....................................................111
Glissando...........................................................114
5. Ogölne uwagi o wykonawstwie........................................115
Rozdzial 4
Tabele chwytöw, tryli, obiegniköw, wibracji palcowej i glissand z komentarzem ..119
1. Tabela chwytöw.....................................................119
2. Tabela tryli.......................................................135
3. Tabela obiegniköw..................................................147
4. Tabela wibracji palcowej...........................................156
5. Tabela glissand....................................................156
Rozdzial 5
Omöwienie utworöw nagranych na ptycie....................................159
1. Johann Nepomuk Hummel (1778-1837), Sonata A-dur op. 64 na flet
i fortepian........................................................161
2. Anton Reicha (1770-1836), Sonata D-dur op. 103 na flet i fortepian ... 162
3. Friedrich Kuhlau (1786-1832), Duo B-dur op. 110 nr 1 na flet i fortepian . 164
Spis tresci
195
4. Carl Maria von Weber (1786-1826), Trio g-moll op. 63 na flet, wio-
lonczelç i fortepian...............................................165
5. Instrumenty........................................................166
6. Rozwi^zywanie problemów wykonawczych i praktyczne zastosowa-
nie wskazówek Fürstenaua w wykonywanych utworach...................169
Pozyskanie i opanowanie instrumentu - palcowanie,
specyfika brzmienia i intonacji....................................169
Ksztaltowanie dzwiçku, realizacja ozdobników i artykulacja.........173
Wspólpraca z pozostalymi instrumentami.............................179
Ogólna ocena przydatnosci Die Kunst des Flötenspiels op. 138 w rozwi^zywa-
niu problemów wykonawczych w muzyce fletowej pierwszej polowy XIX wieku 180
Zakoñczenie..........................................................183
Bibliografía.........................................................185
Summary..............................................................187
Bibliografía
1. Zródla
Devienne E, Nouvelle Méthode Théoretique et Practique pour la Flute, París
1792/94 (reprint: Studio Per Editioni Scelte, Firenze 1984).
Dressier R., New and complete instructions for the flute, Riley New York 1828.
Fürstenau A. B., Die Kunst des Flötenspiels op, 138, Breitkopf Härtel Leipzig
1844 (reprint: Frits Knuf Publishers Buren 1991, Vorwort und Einführung
von Nikolaus Delius).
Fürstenau A. B., Flötenschule op, 42, Breitkopf Härtel Leipzig 1826.
Hotteterre J., Principes de la Flute, Paris 1707, Amsterdam 1728 (reprint
Bärenreiter-Verlag 1998).
Lusse Ch. de, VArt de la Flute Traversiere, Paris 1761 (reprint: Knuf Buren
1980).
Müller A. E., Elementarbuch für Flötenspieler, Peters Leipzig 1817.
Nicholson Ch., Preceptive Lessons for the flute, Clementi Co. London 1821.
Quantz J. J., Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin
1752 (reprint: Bärenreiter-Verlag 1997).
Reicha A., Vollständiges Lehrbuch der musikalischen Composition, übersetzt
und mit Anmerkungen versehen von C. Czerny, t. 2, Wieden 1840, s. 537.
Tromlitz J. G., Ausführlicher und gründlicher Unterricht die Flöte zu spielen,
Leipzig 1791 (reprint: Frits Knuf Buren 1985).
Tromlitz J. G., Ueber die Flöten mit mehrern Klappen, Leipzig 1800 (reprint:
Frits Knuf Buren 1991).
2. Opracowania
Mather B. B., Zur Interpretation französischer Musik, Musikverlag Pan
AG Zürich 1989.
186
Kompleksowa wizja fletu romantycznego...
Brown C. Classical and romantic performing practice 1750-1900, Oxford
University Press 1999.
Chominski J., Wilkowska-Chomiriska K., Wielkie formy instrumentalne,
PWM Krakow 1987 (Formy Muzyczne, 2).
Encyklopedia Muzyki, pod redakcj^ Andrzeja Chodkowskiego, Warszawa 1995.
Fubini E., Historia estetyki muzycznef tfum. Zbigniew Skowron, Krakow 2002.
Jasinska D„ Styl brillant a muzyka Chopina, Poznan 1995.
Krickeberg D., Zur Geschichte der Querflöte, [w:] G. Busch-Salmen, A. Krause-
-Pichler, Handbuch Querflöte, Bärenreiter 1999, s. 42-63.
Kuijken B., Winne J. De, Trockne Blumen; wst^p do plyty CD: Trockne Blu-
men. Flute music from the first half of the 19th Century; Accent ® 1997,
©2006, ACC 97125.
Lenski K., Ventzke K., Das goldene Zeitalter der Flöte, Moeck 1992.
Noe G. von, Der Vorschlag in Theorie Und Praxis, Döblinger Wien 1986.
Powell A., The flute, Yale University Press, New Haven and London 2002.
Rink J., Sonata. 3.19th century after Beethoven, [w:] The New Grove Diction-
ary of Music and Musicians, red. Stanley Sadie, t. 23, wyd. 2, London-New
York 2001, s. 682.
Schmitz H.-R, Fürstenau heute, Bärenreiter 1988.
Schneeberger B. M. H., Die Musikerfamilie Fürstenau, Lit Verlag Münster-
-Hamburg 1992.
Trz^siok M., Piesni drzemiq w kazdej rzeczy. Muzyka i estetyka wczesnego
romantyzmu niemieckiego, Wroclaw 2009.
Summary
The comprehensive conception of the romantic flute,
in aspects of construction, sound, technique and performance practice,
according to Die Kunst des Flötenspiels in theoretisch-practischer
Beziehung dargestellt von A. B. Fürstenau op. 138
Performing of early music using historical instruments and historical per-
formance practices was a marginal and experimental phenomenon as late as
only several dozens of years ago. At present, it is an integral part of the musical
life of Europe and rest of the world. It is reflected in proliferation of concerts,
festivals and recordings, by the activity of many orchestras and chamber en-
sembles specializing in historical performance, and by broad possibilities of a
profiled music education in this field.
The term4 early music” referred at first only to the music of the Middle Ages,
the Renaissance and the Baroque. The term evolved with time to include later
periods as well. It could be argued that, at present, the term “early music” reaches
chronologically as far as the second half of the 19th century and includes the
romantic period.
On the other hand, many contemporary musicians consider performing clas-
sical music - especially that of Romanticism provenance - using old “primitive”
instruments, to be an exaggeration. They also don’t find it necessary to study
instrumental methods of the time, having at hand universally known, sacred
and inviolable performance traditions of the periods music.
This happens to be the case of the transverse flute as well. Many flutist play-
ing the contemporary Boehm flute are not only ready to accept the existence
of the baroque traverso flute, they even see the need of improving their knowl-
edge about 18th century’s flute methods. Performing well-known Mozarts flute
concertos and quartets using historical instruments is already considered to
be acceptable; romantic flutes however are still a real terra incognita for most
of today’s flutists. The common opinion is that the first thirty years of the 19th
century, before Boehm’s revolutionary invention, were a lost time in the history
of flute, during which period many different and increasingly more complicated
key systems were constructed on the basis of the old, conical-bored one-keyed
188
Kompleksowa wizja fletu romantycznego...
flute. All that turned out to be futile, because the flute of the time just couldn’t
cope with the difficulties presented by the new music. The lack of knowledge
concerning pre-Boehm romantic flutes is clearly visible in Poland, where (in
comparison to the Western Europe countries) historically informed performance
started to appear and develop with a significant delay.
This work, titled The comprehensive conception of the romantic flute, in aspects
of construction, sound, technique and performance practice, according to “Die
Kunst des Flötenspiels in theoretisch - praktischer Beziehung dargestellt von A. B.
Fürstenau” Op. 138 fills, at least to some extent, the aforementioned cognitive
gap and introduces Polish readers to the issues of pre-Boehm romantic flutes,
presented in the aspect of one of the most important flute methods published
in the first half of the 19th century. The main purpose of this work is to present
contents of A. B. Fürstenaus Die Kunst des Flötenspiels Op. 138 and to show its
practical use in the flute repertoire of the first half of the 19th century. The CD
recording, titled Flauto brillante (RecArt 003/2011), contains four pieces by
composers contemporary to the author of Die Kunst des Flötenspiels Op. 138:
J. N. Hummel, Sonata in A major Op. 64; A. Reicha, Sonata in D major Op. 103;
F. Kuhlau, Duo in Bflat major Op. 110 No. 1; C. M. von Weber, Trio in G minor
Op. 63. In the recorded performance historical instruments and historical per-
formance practice were employed.
The first chapter describes different types of a romantic flute and the situ-
ation of a flutist in the first half of the 19th century. The authoress sketches the
process of changing the flutes construction, which started in the second half
of the 18th century and was continued into the first half of the 19th century: the
shift from the conical-bored one-keyed flute through the old type of a conical-
bored flute with varying number of keys - and then to the early model of the
Boehm flute. The chapter also briefly presents the most outstanding virtuosos
of the romantic period and different concepts of the sound of the instrument,
originating in the 18th century.
The authoress underlines the fact, that there wasn’t one common type of
the romantic flute. In the first half of the 19th century, there existed a variety of
regional types, with differences in construction details, tone and pitch. At the
time, different qualities were in value in different European countries: in France,
the softness and elegance of the tone; in England, the penetrating sound; in
Germany and Austria both of these were important to some degree.
It is vital to remember, that the flute constructed by Theobald Boehm (1794-
1881), a prototype of the contemporary transverse flute, has appeared for the first
time in the thirties of the 19th century and was by no mean warmly welcomed
by flutists. One of the outspoken opponents of the new invention was Anton
Bernhard Fürstenau (1792-1852), who considered the loud and levelled sound
Summary
189
of the Boehm flute to be monotonous and very distant from the truly romantic
character of the “old” flute, tone of which was sweet and diversified in timbre.
It is not until the second half of the 19th century, that the popularity of the
Boehm flute could be considered universal; but we should remember that even
at the beginning of the 20th century, the musicians of some leading orchestras
(e.g. the Gewandhaus Orchestra in Leipzig) still had been playing the old type flutes.
We may therefore assume, that the entire virtuoso flute repertoire, at least
that written during the first thirty years of the 19th century, could be performed
only using the allegedly “primitive” (in opinion of many of the contemporary
flutists) pre-Boehm flutes.
In the second chapter we are acquainted with, nowadays seemingly for-
gotten, the figure of Anton Bernhard Fürstenau - a famous virtuoso, teacher,
composer and flute theoretic, who started his career as a prodigy alongside his
father and teacher, Caspar Fürstenau, and culminated as the first flutist of the
Royal Orchestra in Dresden. His extensive biography was enriched with excerpts
from historic reviews of Fürstenau s recitals in various cities of Europe. These
reviews comment primarily on the virtuosos way of playing and the perfor-
mances’ characteristics of the time (places, repertoire, co-performers, number
of the audience and its reaction, etc.). The most important source of informa-
tion for the authoress was the monograph by Bernhard Maria Schneeberger
Die Musikerfamilie Fürstenau (Lit Verlag Münster - Hamburg 1992) - the only
contemporary work, very well documented, which describes with extraordinary
exactness life and work of musicians of the Fürstenau family. Unfortunately, the
monograph is hardly available - the small edition was sold out long ago, and it
is nearly impossible to buy a second-hand copy.
The third chapter presents in detail contents of the flute method Die Kunst des
Flötenspiels Op. 138, which was published in Leipzig in 1844 by the Breitkopf
Härtel and which summed up artistic experiences of the whole life of its author.
Considerable excerpts from Die Kunst... are here translated into Polish, with the
aim of giving Polish readers an opportunity to experience Fürstenau s original
text. In the chapter, the conception of flute construction and tone is discussed:
according to Fürstenau, the best in these respects were flutes constructed by
Wilhelm Liebel (1793-1871). Then there are thoroughly presented various ele-
ments of playing technique: posture and hand position, embouchure, breath,
fingering, intonation and articulation. For the flutist playing the pre-Boehm
flute with German or Viennese-type key system the paragraphs dedicated to
fingering are of particular importance.
The author of Die Kunst... has created a very complicated system of alternate
fingerings, giving to a flutist the possibility of choosing a fingering best fitted to
the music context with regard to timbre, intonation and player’s convenience.
Fürstenau recommended the so-called “covered fingering,” when fingers of both
190
Kompleksowa wizja fletu romantycznego...
hands are used and as many as possible of tone holes are closed. According to
Fürstenau, covered fingering provides the most beautiful sound and should
always be preferred, if possible.
In the third chapter there are also discussed issues of the ornamentation:
execution of trills, turns, appogiaturas; a breath vibrato, a finger vibrato and
glissando; some general performance questions related to solo and orchestral
flutists are presented as well. The chapter is profusely illustrated with musical
examples taken from the faximile edition of Die Kunst..., with permission from
the Laaber publishing house, now the only owner of copyrights to this publica-
tion. Many of performance indications contained in the chapter are commented
by the authoress and confronted with the relevant contemporary performance
practice as well as with chosen earlier flute methods, including the first flute
method by A. B. Fürstenau Flötenschule Op. 42, released in 1826 by the Breit-
kopf Härtel, Leipzig.
The fourth chapter is a practical addition for a flutist playing classical and
romantic German or Viennese-type flutes. It contains charts of fingering, trills,
turns, finger vibrato and glissandi with commentaries and music examples meant
for a practical learning of fingering, all designed by Fürstenau.
The fifth chapter is devoted to formal and stylistic analysis of the recorded
pieces and to practical application of Fürstenaus directions. Theres also a minute
description of instruments used for the performance.
The recording was made using the flute constructed in 2011 by Rudolf Tutz
after one of the original Wilhelm Liebels flutes. It is made of grenadilla wood
and consists of three parts with the following key system:
- the body: long C key, B flat and G sharp keys;
- the foot: double F key (for a single tone hole), D sharp, C sharp and C keys.
The head is without sliding joint, but is fitted to the pitch a =432 Hz.
The square piano was built by Stockholm constructor Pehr Rosenwall
(1801-1869), working in years 1821-1861. Taking into account its serial num-
ber (808) one may assume, that the instrument was made in the first half of
the 19th century. The action is Stosszungenmechanik, today referred as single
escapement English action. The compass is 6% octaves, CC-a”” (C1-A7). Equal
temperament, pitch a’=432 Hz. Visible cracks haven’t affected the tonal stability
of the instrument. For the purpose of the recording it was necessary to regulate
the action, renew some hammers and replace four strings. The recording docu-
ments, in all probability, the original condition of the instrument.
The cello was made by Krzysztof Krupa in 2008 after the large-sized model
by Antonio Stradivari (1701), famous for its immense power of sound. The cel-
list plays on gut strings (two wound). Strings of that type had been in constant
use till the middle of the 20th century.
Summary
191
Taking into account the experience gained by the authoress during her
preparation to the recording, it seems that almost all performance directions
of Fürstenau proved to be very helpful for preparing the flute repertoire of first
half of the 19th century. It would be of course beneficial, if a flutist performing
this repertoire has also a knowledge of the other flute methods and instrumen-
tal methods from that period and those of the second half of the 18th century.
As it was shown in the previous chapters of this work, that period was a time
of rapid changes in performing, in instruments’ construction and in the music
itself; various tendencies clashed and new ideas thrived alongside the old ones,
that originated in the 18th century performance practice.
Amongst all chapters of Die Kunstof greatest importance for the authoress
were those dedicated to the issues of fingering, of forming the tone, of articula-
tion and ornaments - their use was discussed in the fifth chapter and partially
illustrated with musical examples.
In both of his flute methods, A. B. Fürstenau recommended Wilhelm Liebels
instruments. While working on the recording, the authoress became convinced,
that the flute constructed after one of those of Liebel indeed in many respects
sounds very well in virtuoso repertoire from the first half of the 19th century.
Only few of Fürstenaus statements didn’t work in practice: the extremes of range
were rather difficult to execute, especially if some dynamics subtleties were
meant; and some of proposed fingerings weren’t perfect in respect of intonation.
The work by Magdalena Pilch titled The comprehensive conception of the
romantic flute, in aspects of construction, sound, technique and performance
practicey according to “Die Kunst des Flötenspiels in theoretisch - praktischer
Beziehung dargestellt von A. B. Fürstenau” Op. 138 is certainly going to be im-
portant both for Polish flutist performing the repertoire of the first half of the
19th century with use of historical flutes and for flutist playing contemporary
flutes. Using the contemporary Boehm-flute it’s of course impossible to meet
these of Fürstenaus claims which are exclusively connected to old type flutes
(fingering!); but there’s still a possibility of execution some of other directions,
which regard articulation, ornamentation and forming of sound. The authoress
hopes that the experience accumulated while preparing for the Flauto brillante
recording will profit in her further artistic work, and that she will have the op-
portunity of using her Liebel’s flute in chamber and orchestral repertoire of the
first half of the 19th century.
Translated by Piotr and Aleksandra Milcarz
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| author | Pilch, Magdalena |
| author_additional | Magdalena Pilch, Marek Pilch, Bartosz Kokosza |
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| ctrlnum | (OCoLC)854591434 (DE-599)BVBBV040755231 |
| format | Book |
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| id | DE-604.BV040755231 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:33:14Z |
| institution | BVB |
| isbn | 9788376430690 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025734911 |
| oclc_num | 854591434 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 195 Seiten Illustrationen, Notenbeispiele 23 cm 1 CD |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Wydawnictwo Unum |
| record_format | marc |
| spelling | Pilch, Magdalena Verfasser aut Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 Magdalena Pilch The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 Kraków Wydawnictwo Unum 2011 195 Seiten Illustrationen, Notenbeispiele 23 cm 1 CD txt rdacontent n rdamedia nc rdacarrier Bibliografie Seite 185-186 CD mit dem Titel: Flauto brillante CD Flauto brillante Magdalena Pilch, Marek Pilch, Bartosz Kokosza Zusammenfassung in englischer Sprache Muzyka na flet jhpk Flet jhpk Flet / podręczniki jhpk Flöte (DE-588)4154647-7 gnd rswk-swf Flötenspiel (DE-588)4154648-9 gnd rswk-swf Flöte (DE-588)4154647-7 s Flötenspiel (DE-588)4154648-9 s DE-604 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025734911&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025734911&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025734911&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Pilch, Magdalena Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 Flauto brillante Muzyka na flet jhpk Flet jhpk Flet / podręczniki jhpk Flöte (DE-588)4154647-7 gnd Flötenspiel (DE-588)4154648-9 gnd |
| subject_GND | (DE-588)4154647-7 (DE-588)4154648-9 |
| title | Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 |
| title_alt | The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 Flauto brillante |
| title_auth | Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 |
| title_exact_search | Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 |
| title_full | Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 Magdalena Pilch |
| title_fullStr | Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 Magdalena Pilch |
| title_full_unstemmed | Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 Magdalena Pilch |
| title_short | Kompleksowa wizja fletu romantycznego w zakresie budowy, brzmienia, techniki gry i praktyki wykonawczej według "Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt" von A.B. Fürstenau op. 138 |
| title_sort | kompleksowa wizja fletu romantycznego w zakresie budowy brzmienia techniki gry i praktyki wykonawczej wedlug die kunst des flotenspiels in theoretisch practischer beziehung dargestellt von a b furstenau op 138 the comprehensive conception of the romantic flute in aspects of contruction sound technique and performance practice according to die kunst des flotenspiels in theoretisch practischer beziehung dargestellt von a b furstenau op 138 |
| title_sub | = The comprehensive conception of the romantic flute, in aspects of contruction, sound, technique and performance practice, according to Die Kunst des Flötenspiels in theoretisch-practischer Beziehung dargestellt von A.B. Fürstenau op. 138 |
| topic | Muzyka na flet jhpk Flet jhpk Flet / podręczniki jhpk Flöte (DE-588)4154647-7 gnd Flötenspiel (DE-588)4154648-9 gnd |
| topic_facet | Muzyka na flet Flet Flet / podręczniki Flöte Flötenspiel |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025734911&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025734911&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025734911&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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