CLASSICAL PERIOD FLUTE REPERTOIRE FULL
CLASSICAL PERIOD FLUTE REPERTOIRE PROFESSIONAL

Flute Talk MagazineĪ list of the 2019 – 2020 Flute Competitions with links to the competitions High School Solo & Ensemble Contest and College Entrance Audition Repertoire National Flute Associationīroken down into Young Artist, Piccolo, High School, Junior Artists and more. Whether a high school student or a young artist, these links will keep you up to date with competition repertoire.

These pieces are examples of what flutists reaching for their highest level of accomplishment are capable of playing. Included are pieces which are pillars of the flute repertoire as well as some new music veteded for competition. The conservatories were run by clergyman who expected women to conduct themselves with 'modesty and decency' therefore, girls at the schools were required to make an oath not to perform on stage after finishing their training.Home » Teaching Flute » Flute Competition RepertoireĮven though you, or your students, may not be planning to take part in any flute competitions, when you are considering which piece to work on next or what your students should be studying, these competition lists will give you an answer. Musicians such as Vivaldi, Quantz, Rousseau, and Hasse worked for the ospedali at different points in their careers, giving students access to some of the most prolific composers and virtuosic instrumentalists of their time. Quantz, Charles de Brosses, and Charles Burney.Īt the conservatory, girls were trained in conducting, trumpet, oboe, bassoon, horn, and other instruments not commonly taught to women anywhere else in Europe. The ospedali were praised by composers, government officials, and historians, including J. They developed over time into schools where students, primarily girls, would receive the highest quality musical training. The Ospedale della Pieta was one of four Venetian conservatories that began as orphanages.

CLASSICAL PERIOD FLUTE REPERTOIRE PROFESSIONAL

If Bon did indeed attend the ospedale, this early musical education would have had a significant impact on her professional development by providing training uncommon to women and girls during her lifetime. Uncertainty surrounds Bon's early years and musical training, but several historians cite a parish register indicating her admission to the Ospedale della Pieta in 1743. (3) The first and third published collections were composed for transverse flute and continuo, and the second was written for solo harpsichord. (2)īon published only three opus numbers during her lifetime, but there is a continued search for later unpublished works.

Their leave is documented, but their destination, and therefore Anna's birthplace, is unknown.

(1) She was born while her parents were on a brief leave from the court at St. The title pages of Bon's published collections list the date and her age, so we can assume that she was born in 1740. Rosa was an operatic soprano specializing in buffo roles of the comic intermezzi style, and Girolamo was an artist, stage designer, and performer. It is compounded by the neglect of women composers in the mainstream history of Western music.īon forged a successful musical career uncommon for her age and gender, and this can be attributed in part to the lives and careers of her parents, Rosa Ruvinetti and Girolamo Bon. This may be attributed to her limited number of extant works and her young age at their time of publication.

CLASSICAL PERIOD FLUTE REPERTOIRE FULL

Her flute music explores the full range of the 18th-century instrument, demonstrating a combination of virtuosity and elegance not seen in the music of many of her contemporaries.Īlthough critical and modern editions of her flute works have gradually appeared over the past two decades, the compositions have not yet gained regular performance or widespread recognition in the canon of 18th-century repertoire. Anna Bon di Venezia, the Virtuosa di Musica di Camera for the court at Bayreuth, was an 18th-century composer of instrumental chamber music whose work is categorized today as part of a body of neglected and long-forgotten compositions by women composers of that era.

Classical period flute repertoire