tag:world.hey.com,2005:/dikmans/feedGreg Dikmans2022-04-20T02:04:19Ztag:world.hey.com,2005:World::Post/202952022-04-20T01:47:05Z2022-04-20T02:04:19ZBaroque Flute & Harpsichord Concert - Melbourne – Friday 22 April at 6pm<div class="trix-content">
<div>Dear Friends and Music Lovers,<br><br>A quick reminder that my concert with David Macfarlane is this <strong>Friday 22 April at 6:00pm</strong>.<br><br>We are playing in the wonderful acoustic of the <strong>Primrose Potter Salon</strong> at the <strong>Melbourne Recital Centre</strong>.<br><br>We will be performing works by <strong>François Couperin</strong>, <strong>Georg Phillip Telemann</strong> and <strong>Johann Sebastian Bach</strong>. <br><br>These works are very close to our hearts and the composers are central to our research and performing. It will be our pleasure to share this music with you.<br><br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--png">
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</figure><br><br><br>TICKETS AND VENUE INFORMATION: <br><br><a href="https://www.melbournerecital.com.au/events/2022/flute-and-harpsichord/">https://www.melbournerecital.com.au/events/2022/flute-and-harpsichord/</a><br><br><br>PDF of Brochure Attached.<br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--pdf">
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</figure><br><br><br><strong>Related Post</strong>: <a href="https://world.hey.com/dikmans/telemann-s-fantasias-for-flute-af4949a8">Telemann’s Fantasias for Flute</a> <br><br>---<br><br>If you have any questions, thoughts or suggestions, you can contact me directly at <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Best wishes,<br><br>Greg Dikmans (Elysium Ensemble)<br><br>---<br><br>Email: <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Blog: <a href="https://world.hey.com/dikmans">https://world.hey.com/dikmans</a><br><br>Elysium Ensemble website: <a href="http://elysiumensemble.com">http://elysiumensemble.com</a><br><br><br></div>
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Greg Dikmansdikmans@hey.comtag:world.hey.com,2005:World::Post/199222022-03-30T06:03:44Z2022-03-30T06:25:27ZConcerts in April 2022<div class="trix-content">
<div>Dear Friends and Music Lovers,<br><br>I have two performances coming up in Melbourne in April.<br><br>The first is FREE and no booking required.<br><br>----------<br><br></div><h1>The St John Passion by J.S. Bach</h1><div><strong>Good Friday (15 April) at 7:30pm</strong><br><br>Scots’ Church Choir directed by Douglas Lawrence and the Melbourne Baroque Ensemble.<br><br>Venue: <strong>THE SCOTS’ CHURCH</strong> – Cnr Collins and Russell Streets, Melbourne<br><br>Cost: FREE<br><br>Time: 7:30pm<br><br>This is one of the great liturgical works for Easter. St John’s account of the Passion is very moving. Bach is at his peak representing the drama of the Passion story. The St John Passion has some excellent choruses — and two wonderful arias with flute obbligato.<br><br>I have been involved in performances on Good Friday at the Scots’ Church for many years. We missed the last two Good Fridays because of Covid, so it will be wonderful to get together again with everyone. <br><br>----------<br><br></div><h1>Greg Dikmans & David Macfarlane – Flute and Harpsichord</h1><div><br></div><div> <figure class="attachment attachment--preview attachment--lightboxable attachment--jpg">
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</figure><br><br><strong>Friday 22 April at 6:00pm</strong><br><br><strong>Primrose Potter Salon – Melbourne Recital Centre</strong><br><br>David Macfarlane and I have presented concerts of the great works for flute and harpsichord in the wonderful acoustic of the Chapel of Newman College at Melbourne University (see photo). <br><br>This year we will be playing in another lovely acoustic — ideal for chamber music — the Salon at the Melbourne Recital Centre. I have recorded two CDs in the Salon and it’s such a pleasure to play there.<br><br>Works by three of the most important and influential composers in the 18th century: François Couperin, Georg Philipp Telemann and Johann Sebastian Bach.<br><br>The program explores the pure French style of Couperin’s 8th Concert in the Theatrical Style, the galant style of Telemann’s Fantasias for solo flute and the rich contrapuntal German style of Bach. <br><br><strong>More information and bookings</strong><br><a href="https://www.melbournerecital.com.au/events/2022/flute-and-harpsichord/">https://www.melbournerecital.com.au/events/2022/flute-and-harpsichord/</a><br><br>----------<br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--jpeg">
<a download="Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg" title="Download Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg" data-click-proxy-target="lightbox_link_blob_758510182" href="https://world.hey.com/dikmans/7e56f43f/blobs/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCR2J5TlMwPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--21f35b16fd89821ffddeb243adc92ad1cfbea48c/Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg?disposition=attachment">
<img src="https://world.hey.com/dikmans/7e56f43f/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCR2J5TlMwPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--21f35b16fd89821ffddeb243adc92ad1cfbea48c/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lKYW5CbFp3WTZCa1ZVT2hSeVpYTnBlbVZmZEc5ZmJHbHRhWFJiQjJrQ2dBZHBBZ0FGT2d4eGRXRnNhWFI1YVVzNkMyeHZZV1JsY25zR09nbHdZV2RsTURvTlkyOWhiR1Z6WTJWVSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--824130a6fd2f596d29a6d245cf773fab0beee210/Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg" alt="Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg" srcset="https://world.hey.com/dikmans/7e56f43f/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCR2J5TlMwPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--21f35b16fd89821ffddeb243adc92ad1cfbea48c/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lKYW5CbFp3WTZCa1ZVT2hSeVpYTnBlbVZmZEc5ZmJHbHRhWFJiQjJrQ0FBOXBBZ0FLT2d4eGRXRnNhWFI1YVVFNkMyeHZZV1JsY25zR09nbHdZV2RsTURvTlkyOWhiR1Z6WTJWVSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--f3f1b2037df56b6e7b02c335c36fe9999ab42b52/Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg 2x, https://world.hey.com/dikmans/7e56f43f/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCR2J5TlMwPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--21f35b16fd89821ffddeb243adc92ad1cfbea48c/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lKYW5CbFp3WTZCa1ZVT2hSeVpYTnBlbVZmZEc5ZmJHbHRhWFJiQjJrQ2dCWnBBZ0FQT2d4eGRXRnNhWFI1YVR3NkMyeHZZV1JsY25zR09nbHdZV2RsTURvTlkyOWhiR1Z6WTJWVSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--6b62883c9596ea5ec874f8c026d734630c019ca2/Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg 3x" decoding="async" loading="lazy">
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</figure><br><br>You can watch and listen to a video of my performance of a Telemann Fantasia in Newman Chapel on the Elysium Ensemble’s YouTube channel.<br><br><a href="https://www.youtube.com/watch?v=vWi5MiOHZ-4">https://www.youtube.com/watch?v=vWi5MiOHZ-4</a><br><br>----------<br><br>If you have any questions, thoughts or suggestions, you can contact me directly at <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Best wishes,<br><br><strong>Greg Dikmans</strong> (Elysium Ensemble)<br><br>---<br><br>Email: <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Blog: <a href="https://world.hey.com/dikmans">https://world.hey.com/dikmans</a><br><br>Elysium Ensemble website: <a href="http://elysiumensemble.com">http://elysiumensemble.com</a><br><br><br><br></div>
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Greg Dikmansdikmans@hey.comtag:world.hey.com,2005:World::Post/173422021-12-05T01:06:19Z2021-12-05T04:43:58Z18th-Century Musicians Saw Themselves as Craftworkers<div class="trix-content">
<div>Dear Friends and Music Lovers,<br><br>This post explores the differences in the way people thought about music (and the arts) in the 18th century compared to the 19th and later centuries. Neither way is better or more correct than the other, but a deeper appreciation of 18th-century music can come with an understanding of the motivations and ideals of 18th-century musicians.<br><br>In Western music today, performance is usually conceived as an interpretive art. Shai Burstyn, in an article in the journal <em>Early Music</em> titled ‘In quest of the period ear’, writes that underpinning this concept is the idea of a ‘communication triangle’, a division of labour whereby<br><br></div><blockquote>composers create musical works and notate them in scores from which performers perform [that is, interpret] for the edification and pleasure of listeners.</blockquote><div><br>This deeply entrenched view reflects the ‘romantic glorification of the inspired composer’, who is seen as the ‘creator of original musical edifices’. <br><br>This way of thinking dates back to 19th-century Romanticism and is still prevalent today.<br><br>Bruce Haynes, in <em>The End of Early Music: A Period Performer’s History of Music</em>, contrasts 16th, 17th and 18th-century music, which he calls <strong>Rhetorical music</strong>, with music written in the 19th century and later, which he calls <strong>Canonic music</strong>.<br><br></div><blockquote>Rhetorical music had as its main aim to evoke and provoke emotions—the Affections, or Passions—that were shared by everyone, audience and performers alike.<br><br>Canonic music, by contrast, was usually autobiographical in some sense, often describing an extreme experience of the artist-composer: cathartic or enlightening, but above all solitary and individual.</blockquote><div><br>Several revolutions took place at end of 18th century and into the 19th century:<br><br></div><ul><li>Industrial Revolution (c.1760–1840)</li><li>French Revolution (began 1789)</li><li>Romantic Revolution (Romanticism)</li></ul><div><br>These revolutions led to changes in ideals and ways of thinking. There were paradigm shifts in aesthetics and other areas.<br><br>Before these revolutions music and the arts were based on values and practices that seem fundamentally different to those we today call ‘modern‘. We take our modern ideas for granted or as givens. Not only do we assume our way of thinking applies universally but also that it is somehow better or superior.<br><br>So the 19th century has created a wide gap between us today and the 18th century. The differences are often difficult to appreciate or even to see. <br><br>---<br><br>To illustrate the point, here are two contrasting paintings produced about 100 years apart.<br><br>Caspar David Friedrich (1774–1840) was a quintessential Romantic landscape painter. Here is his <em>Wanderer above the Sea of Fog</em> (c.1818).<br><br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--jpg">
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<img src="https://world.hey.com/dikmans/875e5b8d/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCRVhUaXlVPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--5d80a78e7f37aa9db1ebc5ef616996c7c75ad186/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJYW5CbkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFLQUIya0NBQVU2REhGMVlXeHBkSGxwU3pvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--0b5e092e6240e14fab357b4c1013c9a0c881ff87/Caspar-David-Friedrich-Wanderer-above-the-sea-of-fog.jpg" alt="Caspar-David-Friedrich-Wanderer-above-the-sea-of-fog.jpg" srcset="https://world.hey.com/dikmans/875e5b8d/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCRVhUaXlVPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--5d80a78e7f37aa9db1ebc5ef616996c7c75ad186/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJYW5CbkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFJQUQya0NBQW82REhGMVlXeHBkSGxwUVRvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--a8a2bb6a9884c661ef30854054544882621a1752/Caspar-David-Friedrich-Wanderer-above-the-sea-of-fog.jpg 2x, https://world.hey.com/dikmans/875e5b8d/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCRVhUaXlVPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--5d80a78e7f37aa9db1ebc5ef616996c7c75ad186/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJYW5CbkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFLQUZta0NBQTg2REhGMVlXeHBkSGxwUERvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--9b7ba00c32731d121dd7ff5706d31cc3652788dd/Caspar-David-Friedrich-Wanderer-above-the-sea-of-fog.jpg 3x" decoding="async" loading="lazy">
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</figure><br><br>Historian John Lewis Gaddis describes this painting as leaving a contradictory impression, ‘suggesting at once mastery over a landscape and the insignificance of the individual within it. We see no face, so it's impossible to know whether the prospect facing the young man is exhilarating, or terrifying, or both.’<br><br>Themes: wild nature (chaos) | isolation (man against nature) | turmoil | cold<br><br>---<br><br>Here is an early 18th-century painting by Jean-Antoine Watteau (1684–1721) —<em>Les Deux Cousines</em> (c.1716)<br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--jpg">
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<img src="https://world.hey.com/dikmans/875e5b8d/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCQUhWaXlVPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--7f28ad7cd05085001de6284b2a524154cc539e67/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJYW5CbkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFLQUIya0NBQVU2REhGMVlXeHBkSGxwU3pvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--0b5e092e6240e14fab357b4c1013c9a0c881ff87/Watteau-Deux-cousines.jpg" alt="Watteau-Deux-cousines.jpg" srcset="https://world.hey.com/dikmans/875e5b8d/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCQUhWaXlVPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--7f28ad7cd05085001de6284b2a524154cc539e67/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJYW5CbkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFJQUQya0NBQW82REhGMVlXeHBkSGxwUVRvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--a8a2bb6a9884c661ef30854054544882621a1752/Watteau-Deux-cousines.jpg 2x, https://world.hey.com/dikmans/875e5b8d/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCQUhWaXlVPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--7f28ad7cd05085001de6284b2a524154cc539e67/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJYW5CbkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFLQUZta0NBQTg2REhGMVlXeHBkSGxwUERvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--9b7ba00c32731d121dd7ff5706d31cc3652788dd/Watteau-Deux-cousines.jpg 3x" decoding="async" loading="lazy">
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</figure><br><br>Three elegantly dressed figures are near a pond in beautifully tended park or gardens.<br><br>The painting embodies <em>galant</em> ideals of refinement, elegance, restraint, delicacy and propriety.<br><br>Themes: tamed nature (order) | shared intimacy | melancholy (?) contrasted with joyful love | serenity | warmth<br><br>---<br><br>One difference in the way people thought in the 18th century is that musicians (and other artists) saw themselves as craftworkers. Even Bach. They produced works of art for specific occasions or audiences. They were creating for their present and had no concept of creating something for posterity.<br><br>They strove to perfect their craft (skill) for the betterment of society. A strong motivation was the desire to communicate directly with the audience in front of them, to move them and persuade them, to educate and entertain them. To share with them. 18th-century artists were greatly influenced by the <a href="https://en.wikipedia.org/wiki/Renaissance_humanism">humanist philosophy</a> of the ancient Greeks and Romans. <br><br>As a performer of 18th-century music I feel I need to take all this into serious consideration when I perform this music. I wrote about my approach in a previous post:<br><br><a href="https://world.hey.com/dikmans/what-is-historically-enlightened-performance-917fe600">What is Historically Enlightened Performance?</a><br><br>To conclude I’d like to share a few quotes that I find instructive and worth reflecting on. <br><br>The first are from Bruce Haynes (quoted above):<br><br></div><blockquote>We don’t think about it much, but in fact those old pieces were not written for us. Nobody back then knew what we would be like, what kinds of instruments we would be playing, or what we would expect from our music. In fact, they didn’t even know we would be playing their pieces.</blockquote><div><br>And some more about the differences between Rhetorical and Canonic music:<br><br></div><blockquote>Rhetorical music was temporary, like today’s films—appreciated, then forgotten—Canonic music was eternal and enduring. Rhetorical music was transient, disposable, its repertoire constantly changing. Canonic music was by definition stable, repeatable, and orthodox.</blockquote><div><br>Robert Gjerdingen has written a fascinating book titled <em>Music in the Galant Style</em>. He explains that the word <em>galant</em> was <br><br></div><blockquote>much used in the eighteenth century. It referred broadly to a collection of traits, attitudes, and manners associated with the cultured nobility.</blockquote><div><br>He gives some insights into the life of a composer in the 18th century:<br><br></div><blockquote>The composer of galant music, rather than being a struggling artist alone against the world, was more like a prosperous civil servant. He typically had the title chapel master (Ger., <em>Kapellmeister</em>; It., <em>maestro di capella</em>) and managed an aristocrat’s sacred and secular musical enterprises. He worried less about the meaning of art and more about whether his second violin player would be sober enough to play for Sunday Mass. The galant composer necessarily worked in the here and now.<br>…<br>In short, the galant composer lived the life of a musical craftsman, of an artisan who produced a large quantity of music for immediate consumption, managed its performance and performers, and evaluated its reception with a view toward keeping up with fashion.</blockquote><div><br>---<br><br>Lucinda Moon and I have recorded music by some of the 18th century’s finest musical craftworkers. They were household names in their day and their music can still speak to us today. You can listen to a few tracks by following these links: <br><br><a href="http://elysiumensemble.com/recordings/quantz-flute-concertos/">Quantz – Flute Concertos</a><br><br><a href="http://elysiumensemble.com/recordings/telemann-melodious-canons-and-fantasias/">Telemann – Melodious Canons and Fantasias</a><br><br><a href="http://elysiumensemble.com/recordings/boismortier-six-sonates/">Boismortier – Six Sonates</a><br><br><a href="http://elysiumensemble.com/recordings/quantz-sei-duetti/">Quantz – Sei Duetti</a><br><br>---<br><br>If you have any questions, thoughts or suggestions, you can contact me directly at <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Best wishes,<br><br>Greg Dikmans (Elysium Ensemble)<br><br>---<br><br>Email: <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Blog: <a href="https://world.hey.com/dikmans">https://world.hey.com/dikmans</a><br><br>Elysium Ensemble website: <a href="http://elysiumensemble.com">http://elysiumensemble.com</a><br><br>---<br><br><strong>Related Posts</strong><br><br><a href="https://world.hey.com/dikmans/what-is-historically-enlightened-performance-917fe600">What is Historically Enlightened Performance?</a><br><br><br></div>
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Greg Dikmansdikmans@hey.comtag:world.hey.com,2005:World::Post/170212021-11-18T05:04:27Z2021-12-05T04:45:22ZTelemann’s Fantasias for Flute<div class="trix-content">
<div>Dear Friends and Music Lovers,<br><br>As announced in an earlier post about my <a href="https://world.hey.com/dikmans/recording-plans-2021-5a99f6ca">recording plans</a>, I will be recording the <strong>12 Fantasias for Flute without bass</strong> by Georg Philipp Telemann.<br><br>Telemann played the flute (among several other instruments), which explains his understanding of the capabilities of the instrument and his ability to write so idiomatically for it. Flute players regard the Fantasias as some of the best music ever written for solo flute.<br><br>Georg Philipp Telemann (1681–1676)</div><div> <figure class="attachment attachment--preview attachment--lightboxable attachment--png">
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</figure></div><div>----------</div><div>Below is a link to a video on Youtube of me performing one of the Fantasias in the wonderful acoustic at Newman College Chapel, Melbourne University.<br>----------</div><div><br></div><h1><strong>What is a fantasia?</strong></h1><div>Telemann uses the term in the sense described by J.G. Walther in his <em>Musical Lexicon</em> (1732): <br><br></div><blockquote><em>in a Fantasia ‘one plays what one wills, or composes to please oneself’.</em></blockquote><div><br>There was a rich tradition of keyboard, lute and guitar fantasias, improvised or improvisatory music, going back to the sixteenth century. <br><br>The flute fantasias continue the tradition of free flights of fancy combined with strict contrapuntal (fugal) writing. Each is in a different key and has a different format. However they all do have a similar overall loose structure: one or more opening movements followed by a dance movement. <br><br>The opening movement(s) tend to be more serious and the concluding dance movements are lighter in character (see below).<br><br></div><h1><strong>Telemann engraved his own music</strong></h1><div>The self-published <em>12 Fantasias for Flute without bass</em> (Hamburg, 1727–28) were among Telemann’s first attempts at engraving and as such the technical quality is not high compared to the beautifully engraved scores published in France. <br><br>You can see in the image that the notation is readable but quite cramped, probably because Telemann managed to fit each fantasia onto just one page (modern editions use a two-page spread).<br><br>Telemann: Fantasia No. 3 in B minor for flute<br> <figure class="attachment attachment--preview attachment--lightboxable attachment--png">
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</figure><br><br></div><h1><strong>Telemann’s Fantasia for Flute in B minor</strong></h1><div>This fantasia has a two-part structure. In the first part you will hear alternating slow (<em>largo</em> — broad) and fast (<em>vivace — </em>jaunty) sections. The <em>vivace</em> sections use free fugato writing: that is, the main theme is repeated a number of times in different related keys. Each statement of the theme is followed by attractive passages that have the flute playing both a melody and an accompanying bass line through the use of many large leaps. This compound-line technique is found throughout the fantasias and is one of the many technical challenges the flute player has to face.<br><br>In the second part you will hear a French-style gigue (<em>allegro</em> — cheerful). This light and playful movement also uses the compound-line technique and suits the flute beautifully.<br><br><strong>Watch and listen => </strong><a href="https://www.youtube.com/watch?v=vWi5MiOHZ-4">https://www.youtube.com/watch?v=vWi5MiOHZ-4</a> <br>(4 minutes) <br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--jpeg">
<a download="Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg" title="Download Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg" data-click-proxy-target="lightbox_link_blob_607465654" href="https://world.hey.com/dikmans/af4949a8/blobs/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCTFl3TlNRPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--37789db639c71779fbd483c89acf993e4ce452a7/Telemann-Fantasia-B-minor-Greg-Dikmans.jpeg?disposition=attachment">
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</figure><br><br>Newman College Chapel, Melbourne University<br> <figure class="attachment attachment--preview attachment--lightboxable attachment--png">
<a download="Newman-College-Chapel.png" title="Download Newman-College-Chapel.png" data-click-proxy-target="lightbox_link_blob_607466361" href="https://world.hey.com/dikmans/af4949a8/blobs/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCSGt6TlNRPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--a52ff411a0d2a9798ca49719e0bbffa033b3f2fc/Newman-College-Chapel.png?disposition=attachment">
<img src="https://world.hey.com/dikmans/af4949a8/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCSGt6TlNRPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--a52ff411a0d2a9798ca49719e0bbffa033b3f2fc/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJY0c1bkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFLQUIya0NBQVU2REhGMVlXeHBkSGxwU3pvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--946116ea0c454412635aa7309bd9472bf633014c/Newman-College-Chapel.png" alt="Newman-College-Chapel.png" srcset="https://world.hey.com/dikmans/af4949a8/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCSGt6TlNRPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--a52ff411a0d2a9798ca49719e0bbffa033b3f2fc/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJY0c1bkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFJQUQya0NBQW82REhGMVlXeHBkSGxwUVRvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--8c0bbbd8bfe72a73b222ec1c20265f8631973dc9/Newman-College-Chapel.png 2x, https://world.hey.com/dikmans/af4949a8/representations/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBCSGt6TlNRPSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--a52ff411a0d2a9798ca49719e0bbffa033b3f2fc/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDam9MWm05eWJXRjBTU0lJY0c1bkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFLQUZta0NBQTg2REhGMVlXeHBkSGxwUERvTGJHOWhaR1Z5ZXdZNkNYQmhaMlV3T2cxamIyRnNaWE5qWlZRPSIsImV4cCI6bnVsbCwicHVyIjoidmFyaWF0aW9uIn19--d2fed6b5089e475a3013538949ec7f311ac6e345/Newman-College-Chapel.png 3x" decoding="async" loading="lazy">
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</figure><br><br>----------<br><br>If you have any questions, thoughts or suggestions, you can contact me directly at <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Best wishes,<br><br>Greg Dikmans (Elysium Ensemble)<br><br>----------<br><br>Email: <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Blog: <a href="https://world.hey.com/dikmans">https://world.hey.com/dikmans</a><br><br>Elysium Ensemble website: <a href="http://elysiumensemble.com">http://elysiumensemble.com</a><br><br>----------<br><br></div><div><strong>Related Posts</strong></div><div><br><a href="https://world.hey.com/dikmans/recording-plans-2021-5a99f6ca">Recording Plans – 2021</a> <br><br></div>
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Greg Dikmansdikmans@hey.comtag:world.hey.com,2005:World::Post/166152021-10-30T07:47:46Z2021-12-05T01:22:00ZWhat is Historically Enlightened Performance?<div class="trix-content">
<div>Dear Friends and Music Lovers,<br><br><strong>Historically Enlightened Performance</strong> (<strong>HEP</strong>) is a term I recently coined to describe what I’ve been working towards for the last 40 years or so. The lockdowns have given me a lot of time for reflection. 😀<br><br>When I started out as a performer I played <strong>Early Music</strong>: music from the Middle Ages to the 18th century. In the early 1980s I was in an ensemble (of two) called the <a href="http://elysiumensemble.com/biographies/greg-dikmans/index.html#early-music-duo">Early Music Duo</a>. We did many concerts and tours for Musica Viva around Australia and even in South East Asia.<br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--png">
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</figure><br><br>I was a proud member of what was called the <strong>Early Music Revival</strong>. <br><br>After returning from postgraduate studies in Europe, I started teaching in universities and conservatoriums. I taught what became known as <strong>Historical Performance</strong> (aka Performance Practice or Performance Practice Studies).<br><br>Historical performance takes seriously the huge amount of historical information available to us. It acknowledges that there is no unique historical truth that is valid for all times, places, styles, genres and composers. This is why the term ‘authentic’ performance did not stand the test of time. It was really just a marketing term.<br><br>I have always thought of my approach as <strong>artistic research</strong> intended to lead to practical outcomes: that is, performances.<br><br>At some point another essentially marketing term gained traction and is still used widely today: <strong>HIP</strong> (Historically Informed Performance). Some prefer Historically Inspired Performance.<br><br>HIP is cool. HIP is fashionable.<br><br>I now prefer the term <strong>Historically Enlightened Performance</strong> (<strong>HEP</strong>).<br><br>Not only is HEP an older version of the word HIP—in the 1930s a <strong>hep-cat</strong> was a stylish or fashionable person, especially in the sphere of jazz or popular music—but it better encapsulates what we should be trying to achieve.<br><br>The classic <em>How to Read a Book</em> (1940, rev. ed. 1972) by Adler and Van Doren makes the important distinction between being informed and being enlightened:<br><br></div><blockquote>To be <strong>informed</strong> is to know simply that something is the case.<br><br>To be <strong>enlightened</strong> is to know, in addition, what it is all about: why it is the case, what its connections are with other facts, in what respects it is the same, in what respects it is different, and so forth. …<br><br><strong>Enlightenment</strong> is achieved only when, in addition to knowing what an author says, you know what he means and why he says it.<br><br>— Adler and Van Doren</blockquote><div><br>To be enlightened is to have a deep understanding. Understanding leads to insight and comfort with the data.<br><br>Quantz talks about this in the Preface to his <a href="http://earlymusic.dikmans.net/quantz-on-historically-informed-performance/"><em>Versuch</em></a> (1752). He says that he has endeavoured to purify his taste ‘through long experience and reflection.’ He expands on this in the Introduction:<br><br></div><blockquote>For everything in music that is done without reflection and deliberation, and simply, as it were, as a pastime, is without profit. Industry founded upon ardent love and insatiable enthusiasm for music must be united with constant and diligent inquiry, and mature reflection and examination.<br><br> — Johann Joachim Quantz</blockquote><div><br>He is describing the search for explanations and understanding, for enlightenment. This is education (discovery) and not just training. <br><br>Curiosity is key and you need to do the work.<br><br>---<br><br>If you have any questions, thoughts or suggestions, you can contact me directly at <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Best wishes,<br><br>Greg Dikmans (Elysium Ensemble)<br><br>---<br><br>Email: <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Blog: <a href="https://world.hey.com/dikmans">https://world.hey.com/dikmans</a><br><br>Elysium Ensemble website: <a href="http://elysiumensemble.com">http://elysiumensemble.com</a><br><br>---<br><br><strong>Related Posts<br><br></strong><a href="https://world.hey.com/dikmans/18th-century-musicians-saw-themselves-as-craftworkers-875e5b8d">18th-Century Musicians Saw Themselves as Craftworkers</a><br><br><br></div>
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Greg Dikmansdikmans@hey.comtag:world.hey.com,2005:World::Post/164632021-10-23T02:55:11Z2021-12-05T01:24:48ZRecording Plans – 2021<div class="trix-content">
<div>Dear Friends and Music Lovers,<br><br>In late 2019 we released our recording of <a href="http://elysiumensemble.com/recordings/quantz-flute-concertos/">Quantz Flute Concertos</a>. It was very well received.<br><br>I was so pleased with the result that I planned to record a follow up CD in Oct/Nov 2020 of concertos by the three greatest flute players in the 18th century: <a href="https://en.wikipedia.org/wiki/Michel_Blavet">Michel Blavet</a>, <a href="https://en.wikipedia.org/wiki/Pierre-Gabriel_Buffardin">Pierre-Gabriel Buffardin</a> and <a href="http://elysiumensemble.com/notes/johann-joachim-quantz.html">Johann Joachim Quantz</a>. The musicians and venue were booked. I was practising a lot.<br><br>Then the lockdowns started and we had to cancel. <br><br>During the lockdowns in 2020 I spent a lot of time playing the works for solo flute by Telemann (<em>12 Fantasias</em>), CPE Bach (<em>Sonata in A minor</em>) and JS Bach (<em>Partita in A minor</em>): ideal lockdown music. They are excellent pieces, full of musical and technical challenges, and are rightfully considered the most significant works for unaccompanied flute from before the 20th century.<br><br>With so much uncertainty about when the ensemble might be able to start playing together again, I decided that now was the time for me to record these solo flute works. I have been working on them on and off since the 1970s and feel I now know something about how to play them. <br><br>This recording will be something positive to come out of the Covid-19 crisis. My magnum opus. It will only involve me and Tom Grubb (recording engineer extraordinaire): perfect for these uncertain times.<br><br>In January I started practising in St Paul’s Anglican Church East Kew, not far from where I live. It’s a small, modern, octagonal church and I really like the acoustics.<br> <br> <figure class="attachment attachment--preview attachment--lightboxable attachment--png">
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</figure><br><br>Tom and I made a start on 21 April 2021. We spent half a day doing test recordings to work out where best place the microphones. <br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--png">
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</figure><br><br>The acoustics in St Paul’s suit the intimate nature of this music very well. <br><br>Here is a link to one of the test recordings: <a href="http://dikmans.net/traverso/telemann/Telemann-Fantasia-A-minor-TEST.mp3">Telemann: Grave & Vivace from Fantasia in A minor</a>.<br><br>Then the lockdowns started again. <br><br>And here we are in October 2021 with restrictions finally starting to be eased. It looks like the worst is over in Melbourne, so the recording project is off the back burner.<br><br>I hope to get back to recording again soon, but I think I'll have a break down at Jan Juc first.<br><br> <figure class="attachment attachment--preview attachment--lightboxable attachment--png">
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</figure><br><br>---<br><br>If you have any questions, thoughts or suggestions, you can contact me directly at <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Best wishes,<br><br>Greg Dikmans (Elysium Ensemble)<br><br>---<br><br>Email: <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>Blog: <a href="https://world.hey.com/dikmans">https://world.hey.com/dikmans</a><br><br>Website: <a href="http://elysiumensemble.com">http://elysiumensemble.com</a><br><br>----------<br><br></div><div><strong>Related Posts</strong></div><div><br><a href="https://world.hey.com/dikmans/telemann-s-fantasias-for-flute-af4949a8">Telemann’s Fantasias for Flute</a><br><br></div>
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Greg Dikmansdikmans@hey.comtag:world.hey.com,2005:World::Post/160452021-10-05T02:40:22Z2021-12-05T04:44:34ZElysium Ensemble Blog for Music Lovers<div class="trix-content">
<div>Dear Friends and Music Lovers,<br><br>It’s been a while, mainly because there hasn’t been much to report.<br><br>I haven't done much playing lately, but I have done a lot of thinking, writing and planning. I want to share some of this with you and hopefully I’ll soon also be able to let you know about recordings and concerts.<br><br>If I’ve learned anything from these tedious lockdowns, it’s the importance of gratitude. I am so grateful for the support (moral and financial) you’ve given to me and the ensemble over the years.<br><br>I’ve decided to upgrade the newsletter to a <strong>blog</strong> — and I plan to post more regularly 😀. In addition to announcements about concerts and recordings, I want to write about topics relating to <strong>music appreciation</strong>. The sorts of things I talk to the audience about at our concerts: historical context, the composers, the music and what to listen for. This knowledge should lead you to greater enjoyment of the music.<br><br>As I said in the liner notes to our recording of Quantz Duets: <br><br></div><blockquote>On the surface this music can be enjoyed for its charm and beauty, but a deeper appreciation is achieved when listened to attentively, following closely the various musical ideas as they are presented and developed.</blockquote><div><br>To make it easier for me to post more regularly, I’ve decided to move away from using Mailchimp to a more privacy-focused and frictionless service: <strong>HEY World</strong>.<br><br>In the next week or so look out for an opt-in email from "<a href="mailto:confirm-subscriber@world.hey.com">confirm-subscriber@world.hey.com</a>". You will need to click the confirm button in that email to be subscribed to the new list.<br><br>I apologise for the inconvenience but it I think it will be worth it in the long run.<br><br>---<br><br>If you have any questions, thoughts or suggestions, you can contact me directly at <a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br>If you decide not to continue receiving the emails, you can always see all the blog posts at: <a href="https://world.hey.com/dikmans">https://world.hey.com/dikmans</a> <br><br>There is also an RSS feed (don’t worry if you don’t know what that is).<br><br>Best wishes,<br><br>Greg Dikmans (Elysium Ensemble)<br><br>---<br><br><a href="mailto:dikmans@hey.com">dikmans@hey.com</a><br><br><a href="http://elysiumensemble.com">http://elysiumensemble.com</a><br><br><a href="https://world.hey.com/dikmans">https://world.hey.com/dikmans</a></div>
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Greg Dikmansdikmans@hey.com