Karl Kaiser studied at the Colleges of Music in Cologne and Münster. Parallel to this he also studied theology, philosophy and musicology at the universities in Bonn and Cologne, ultimately deciding on a musical profession. Since then he has made an excellent name for himself as a soloist, chamber and orchestral musician in the area of historically informed performance techniques.
After gaining wide-ranging and inspiring experience in the most varied of orchestras and groups for historical music, Karl Kaiser now concentrates on a few complementary ensembles. He has been a flautist at the Camerata Cologne for almost 30 years, with worldwide concerts and more than 50 CDs covering a large part of the Baroque and early classical chamber music.
He has been a member and flautist of the Freiburg Baroque Orchestra for many years and is constantly underway worldwide with this ensemble as an orchestral musician and soloist. Karl Kaiser is also a founding member and flautist of the La Stagione orchestra in Frankfurt under Michael Schneider. Karl Kaiser plays early Romantic chamber music with Petra Müllejans (violin) and Sonja Prunnbauer (guitar) on original instruments in the trio Sérénade à Trois.
Karl Kaiser is an enthusiastic and all-embracing teacher. He is Professor for Historical Flutes and Performance Techniques at the College of Music and Performing Arts in Frankfurt and at the College of Music in Freiburg. He regularly gives master courses and holds presentations on performance techniques of the 18th century. He has published articles in newspapers and a book of his, Fundamental Knowledge of Baroque Music was published by the con brio Verlag. Karl Kaiser sees his teaching activities as being within a higher-ranking framework – beyond the pure communication of skills.

Jed Wentz began his flute studies with Walter Mayhall in Youngstown, Ohio, and continued studying with James Walker in Pittsburgh, Pennsylvania. He studied modern and historical flutes at the Oberlin Conservatory of Music with Robert Willoughby and Michael Lynn, and received a Soloist's Diploma from the Royal Conservatory in The Hague after three years with Barthold Kuijken. He has performed and recorded with groups such as Musica Antiqua Koln, Les Musiciens du Louvre, Capriccio Stravagante Paris and the Gabrielli Consort. In 1992 he founded Musica ad Rhenum, with whom he has recorded more than 20 CDs both as flutist and conductor. His recording of the complete flute sonatas of Locatelli was awarded the prize for the Best Recording of Italian Music 1995 by the Fondazione Cini Venetia. Mr. Wentz teaches at the Amsterdam Conservatory of Music, and lectures regularly on performance practice at the Royal Academy of Music in London. He has published articles in Early Music, Concerto, and Tijdschrijft voor Oude Muziek. He is pursuing his doctorate through Leiden University, with his research centering on the relationship between 18th-century staging and tempo in the tragedie en musique.

Jean-Pierre Rampal (n. 7 de enero de 1922, Marsella - † 20 de mayo de 2000) fue un flautista francés y ha sido reconocido por devolver a la flauta su popularidad como instrumento clásico solista, popularidad que no tenía desde el siglo XVIII.


Biografía

Rampal nació en Marsella, donde su padre, Joseph Rampal, era primer flautista en la sinfónica y profesor en el conservatorio. Aunque no tenía la motivación para llegar a ser músico profesional, su padre le enseñó desde que el joven Jean-Pierre tenía 12 años. A los 16 obtuvo su primer premio como flautista, en el mismo año que dio su primer recital público.
No sería hasta mucho después que Rampal, una vez comenzados estudios de medicina, decidió seguir la carrera artística. En su tercer año en la escuela de medicina, las fuerzas de ocupación nazi le enviaron a realizar trabajos obligatorios a Alemania, pero en vez de reportarse al servicio, pasó a la clandestinidad y se dirigió a París. Allí decidió seguir cursos en el Conservatorio Nacional y cinco meses después se graduó con el primer lugar de la competición anual de flautistas, premio que Joseph, su padre, ya había ganado antes en 1919.
En 1945, Rampal fue invitado a tocar un concierto de flauta junto con la Ópera de París, de esta forma adquirió cierta fama y experiencia. Durante los diez años siguientes Rampal se dedicó a ser intérprete solista, y, con la guerra terminada, se decidió dar una serie de conciertos empezando en Francia pero después, en 1947 trasladándose a Suiza, Austria, Italia, España y los Países Bajos junto con su compañero pianista Robert Veyron-Lacroix a quien había conocido en 1946.
En 1955 se convierte en primer flautista de la Opéra de París y luego desarrolla sus actividades como solista o músico de cámara. Fundó el Conjunto Barroco de París y el Quinteto de Vientos Francés. A principios de los 60's Rampal era considerado el más virtuoso flautista internacional, pues trabajó con las mejores orquestas del mundo en ese tiempo, pero siguió reviviendo la música, sobre todo barroca, como había hecho desde 1945. Durante los 60's y hasta finales de los 80's tuvo mucha fama, sobre todo en América y Japón. Durante la década de los 60's fue inclusive cosiderado el príncipe de los flautistas
En 1969 fue nombrado profesor del Conservatorio de París y durante los veranos ofreció cursos en la Academia Internacional de Niza. Colaboró con otros artistas como Isaac Stern, Yehudi Menuhin y Mstislav Rostropóvich y dirigió algunas orquestas.
En 1978 gana el premio Sonning Award en Dinamarca. A partir de 1980 se abrió el Concurso de Flauta Jean-Pierre Rampal, que desde ese año se efectúa premiando a los mejores flautistas del mundo.
Rampal fue un promotor incansable del repertorio para flauta, sobre todo aquel del barroco y del clasicismo. Gracias a su labor, la flauta recupera un sitial en el circuito de conciertos al mismo nivel que el piano o el violín. Grabó prácticamente todas las obras importantes para el instrumento, llegando a sumar más de 50 discos. También abordó arreglos y transcripciones. Además incursionó en el jazz, el folclore, la música popular y la música oriental. Hubo varios compositores que le dedicaron partituras, entre otros Jolivet, Francaix, Martinon, Poulenc y Boulez, y a comienzos de los 90 estrenó el Concierto para flauta de Krzysztof Penderecki.
De esa manera en 1998 y 1999 dio sus últimos conciertos, un magno concierto en el llamado Teatro de los Campos Elíseos en París. Su última grabación en 1999 fue de tríos y cuartetos con el trío Pasquier y con su discípulo predilecto el flautista catalán Claudi Arimany, continuador de su legado musical.
En mayo de 2000, Jean-Pierre Rampal muere de un problema cardíaco a los 78 años.
En el 2005 fue creada la Asociación Jean-Pierre Rampal para continuar el estudio de la flauta solista y como apreciación a la contribución de Rampal a la interpretación de este instrumento.

Severino Gazzelloni (Roccasecca -Frosinone-, 5 de enero de 1919 - Cassino, 21 de noviembre de 1992) fue un flautista italiano, uno de los mayores virtuosos del siglo XX. Durante treinta años fue el primer flauta de la Orquesta de la RAI y muchos compositores contemporáneos le dedicaron obras, escritas especialmente para él (entre otros, Luciano Berio, Pierre Boulez, Bruno Maderna e Ígor Stravinsky).
Gazzelloni fue también un gran profesor. Entre sus alumnos se encuentran el intérprete de jazz Eric Dolphy y el flautista clásico Abbie de Quant. Gazzelloni participó activamente en los Cursos de Verano de Darmstadt.

After his two recent incursions into the musical world of the young vivaldi, that excellent violinist from italy enrico gatti, together with his ensemble aurora, has a further pleasant surprise for us: on this occasion it is a hitherto unpublished work by johann sebastian bach. using as a basis a series of arguments of an unquestionable solidity - set out in a fascinating booklet article accompanying our disc - the musicologist francesco zimei has reconstructed the until now lost flute concerto in b minor. the inclusion of this work in the neue bach ausgabe is currently being arranged. zimei's meticulous and detailed study has as its starting point bach's habit of reusing instrumental works for new vocal compositions. in this way, zimei identifies as sources for the "new" concerto the aria zieht euren fuß nur nicht zurücke (bwv 207/3), the introductory sinfonia from the cantata non sa che sia dolore (bwv 209) and an aria included in the celebratory cantata durchlauchtster leopold (bvw 173a). once the magnificent results have been heard few doubts can remain that we have here a new treasure by the kantor of the thomasschule. the brothers gatti - marcello is the flautist on this disc - complete their bach recital with the earlier version of the fifth brandenburg concerto (the "triple concerto" in d major, bwv 1050a) and with the famous ouverture in b minor (bwv 1067), works closely related both in contents and their galant-style intentions with the new discovery which has motivated this recording. this new discovery will undoubtedly provide much scope for discussion and will serve as encouragement for the inclusion of a new work in the repertory for many ensembles.

Biografy

Georg Philipp Telemann's 12 Fantasias for Solo Flute were published in Hamburg in 1732–33. This is one of Telemann's collections of music for unaccompanied instruments, the others being thirty-six fantasias for solo harpsichord published in Hamburg in 1732–33, twelve for solo violin published in 1735, and a set of twelve fantasias for solo viola da gamba, published in the same year, but that is currently lost.

This work comprises the following:

Fantasia in A major (Vivace—Allegro)
Fantasia in A minor (Grave—Vivace—Adagio—Allegro)
Fantasia in B minor (Largo—Vivace—Largo—Vivace—Allegro)
Fantasia in B-flat major (Andante—Allegro—Presto)
Fantasia in C major (Presto—Largo—Presto—Dolce—Allegro—Allegro)
Fantasia in D minor (Dolce—Allegro—Spirituoso)
Fantasia in D major (Alla francese—Presto)
Fantasia in E minor (Largo—Spirituoso—Allegro)
Fantasia in E major (Affettuoso—Allegro—Grave—Vivace)
Fantasia in F-sharp minor (A Tempo giusto—Presto—Moderato)
Fantasia in G major (Allegro—Adagio—Vivace—Allegro)
Fantasia in G minor (Grave—Allegro—Allegro—Dolce—Allegro—Presto)

The collection is arranged by key, progressing more or less stepwise from A major to G minor. Telemann deliberately avoided keys that are impractical on the one-key flute, i.e. B major, C minor, F minor and F-sharp major. There are two ways to view the overall structure of the collection: one way, in which the work is divided into two parts, is suggested by the fact that Fantasia 7 begins with a French overture, indicating a start of a new section. This device was also later used by Johann Sebastian Bach in Variation 16 of his Goldberg Variations. Another was proposed by scholar Wolfgang Hirschmann—there are four modal groups of three fantasias: major-minor-minor, major-major-minor, major-minor-major, and minor-major-minor.
Telemann's solo flute fantasias are alone in the entire Baroque repertoire to include movements seemingly impossible on flute: fugues (fantasias 2, 6, and 8–11), a French overture (fantasia 7) and a passacaglia (fantasia 5).

Best known for her moving and virtuosic performances on a huge range of flutes and recorders, Rachel Brown is an acknowledged authority on historical performance practice, an inspirational teacher and an entertaining and illuminating speaker.

Whilst training on modern flute at Manchester University and the Royal Northern College of Music with Trevor Wye she won numerous prizes leading to performances of flute concertos by Ibert and Nielsen and went on to win the coveted American National Flute Association’s Young Artist Competition. She gave first performances of works by Robin Walker, John Ogden, Judith Weir and, for the Park Lane Group, Barry Guy. However, her interest in early music had already been captured by her recorder teacher, Ross Winters, naturally leading to study of the baroque flute with Lisa Beznosiuk and Stephen Preston and an exploration of the many diverse classical and nineteenth-century flutes.

Rachel’s recital discs of French Baroque Music and Quantz Sonatas (for Chandos) established her reputation and her recording of virtuosic works by Schubert and Boehm on simple-system, ring-keyed and Boehm alto flutes has been described as ‘a revelation’. As a soloist she has recorded extensively and toured in Europe, Japan and North America with a comprehensive concerto repertoire from J.S. Bach, Vivaldi and Telemann to Mozart. She has given many performances of the newly discovered Handel Flute Concerto and her championing of the works of the Berlin School has reawakened interest in the largely unknown masterpieces by Quantz. Her dazzling recordings of the Quantz and C.P.E. Bach Concertos (for Hyperion) have won international acclaim. Rachel appears on many Telemann discs with Collegium Musicum 90 (Chandos) and her recording of the complete Handel flute and recorder sonatas op.1 with the Academy of Ancient Music (for Harmonia Mundi) has been described as “enchanting”. She is a founder member and soloist with the London Handel Players with whom she has recorded three discs of Handel’s chamber music (for Somm), described as ‘perfection itself’. Rachel launched her own label, Uppernote, with a tour de force recording of the complete Telemann Fantasias followed by another new disc of virtuosic Quantz Sonatas, entitled Private Passion.

Equally at home in the wind section, Rachel has had a long and distinguished career as an orchestral player; first, on silver flute, with the orchestra of Kent Opera and for many years as principal flute with the Academy of Ancient Music, the Hanover Band, the Kings Consort, Collegium Musicum 90, Ex Cathedra and the Brandenburg Consort. An occasional guest principal with the Orchestra of the Age of Enlightenment, the English Concert, the erstwhile London Classical Players and orchestras abroad such as the Nederlands Bach Vereniging, the Orchestra of the Eighteenth Century and Tafelmusik, Rachel has also appeared as soloist with Arte dei Suonatori in Poland, the Haydn Akademie in Austria and Concerto Copenhagen in Denmark and Germany.

A dedicated teacher, Rachel has given masterclasses in the USA, Canada, Sweden, Poland, Spain, Ireland, Holland, Switzerland, France, Belgium, Croatia, Brazil and New Zealand. She taught for many years at the Royal Northern College of Music, followed by time at the Royal Scottish Academy of Music and Drama, the Birmingham Conservatoire and as lecturer in classical studies at the Guildhall School. She is currently professor of baroque flute at the Royal College of Music. Always enjoying working with children, Rachel has taught recorder at Wells Cathedral School and currently teaches flute and recorder at City of London School. She also runs her own music group for pre-school children.

Rachel is author of the Cambridge University Press handbook to The Early Flute and has composed cadenzas for the new Bärenreiter edition of the Mozart Flute Concertos. Following great interest in her research, Rachel has published two volumes of her favourite Quantz sonatas, supported by subscribers worldwide.

Diana Baroni (transverse flute), Pablo Valetti (violin), Petr Skalka (cello), Dirk Börner (harpsichord)

Diana Baroni, flautista distinguida

Maria Bania · Irene Spranger (baroque Flutes)
Concerto Copenhagen
Andrew Manze


Johan Joachim Agrell (1701-1765) · Concerto for Flute, Strings and Basso continuo in D major
Johann Adolph Scheibe (1708-1776) · Concerto for Flute, Strings and Basso continuo in A major
Concerto for Flute, Strings and Basso continuo in D major
Johann Adolph Hasse (1699-1783) · Concerto for Flute, Strings and Basso continuo in G major

Cuarteto para flauta nº 1

El Cuarteto con flauta n.º 1 en re mayor, K. 285, de Wolfgang Amadeus Mozart es el primero de una serie de tres cuartetos escritos para el flautista aficionado Ferdinand de Jean, compuestos probablemente entre 1777 y 1778.


Estructura

Consta de tres movimientos:
Allegro, 4/4
Adagio, si menor, 3/4
Rondeau: [Allegro], 2/4
Ludwig van Beethoven tomó prestado material del primer movimiento para su Dúo para clarinete y fagot de 1792.
El «distinguido Adagio en si menor, [es] una romántica canción de trobadores que, en la brevedad de sus treinta y cinco compases, sugiere el futuro movimiento lento del concierto para piano en la mayor (KV 488)».




Cuarteto para flauta nº 2

El Cuarteto con flauta n.º 2 en sol mayor, K. 285a, de Wolfgang Amadeus Mozart es el segundo de una serie de tres cuartetos escritos para el flautista aficionado Ferdinand de Jean, compuestos probablemente entre 1777 y 1778; en efecto, esta composición figura inmediatamente después del Cuarteto con flauta n.º 1 en el catálogo Köchel.


Estructura

La obra consta de dos movimientos:
Andante, 3/4
Tempo di Menuetto, 3/8
Su interpretación suele durar doce minutos aproximadamente.




Cuarteto para flauta nº 3

El Cuarteto con flauta n.º 3 en do mayor, K. 285b, de Wolfgang Amadeus Mozart es el tercero y último de una serie de tres cuartetos escritos para el flautista aficionado Ferdinand de Jean. A pesar de que esta composición figura inmediatamente después de los cuartetos con flauta números 1 y 2 en el catálogo Köchel, fue escrita al parecer algunos años más tarde, posiblemente en 1781 o 1782.

Estructura

La obra consta de dos movimientos:
Allegro, 3/4
Andantino, tema con variaciones
Su interpretación suele durar quince minutos aproximadamente.




Cuarteto para flauta nº 4

El Cuarteto con flauta n.º 4 en la mayor, K. 298, de Wolfgang Amadeus Mozart es el último cuarteto con flauta mozartiano. A diferencia de los tres cuartetos previos, escritos para el flautista aficionado Ferdinand de Jean, está composición parece haber sido escrita como entretenimiento, en lugar de como encargo.

Estructura

La obra consta de tres movimientos:
Andante, tema con variaciones
Menuetto, re mayor, 3/4
Rondeau: [Allegretto grazioso], 2/4
El tercer movimiento destaca por su casi homorísticamente detallada indicación de tempo: «Rondieaoux: Allegretto grazioso, ma non troppo presto, pero non troppo adagio. Così-così—non molto garbo ed espressione».
En italiano, «Un rondó jocoso: Allegretto grazioso, pero no demasiado rápido, pero no demasiado lento. Así-así-con gran elegancia y expresión».
Su interpretación suele durar once minutos aproximadamente.

Janet See



Janet See is one of today’s outstanding performers on baroque and classical flute. For over 30 years she has performed as a soloist, in chamber music, and in orchestras throughout North America and Europe.

In London, where Janet lived for 12 years, she played principal flute for Sir John Eliot Gardiner’s two orchestras, and with those groups recorded the complete Mozart Operas and Beethoven Symphonies as well as numerous other discs. While in London she also played principal flute for 'The Taverner Players', conducted by Andrew Parrott. In North America Janet plays principal flute with Philharmonia Baroque under Nicholas McGegan and has recorded Vivaldi and Mozart Concertos with that orchestra. She also performs frequently with the Portland Baroque Orchestra and as guest soloist with chamber music ensembles throughout the US and Canada.

Among her highly acclaimed recordings are the Vivaldi Concertos and the complete Bach Flute Sonatas, both recorded on the Harmonia Mundi label. Other labels she has recorded on include DG Archive, EMI, Erato, Hyperion and Phantom Partner.

Janet is on the Early Music Faculty at Cornish College of the Arts in Seattle and is an active and enthusiastic teacher of early flutes and also of interpreting the nuance and language of baroque and classical music on modern flute. She received her degree on the modern flute at Oberlin Conservatory, training with Robert Willoughby. Her post-graduate training was with Frans Vester in The Hague. Janet is a qualified teacher of the F.M. Alexander Technique, having trained in London with Walter Carrington. She currently lives on Bainbridge Island, Washington with her husband and son.