Voice flutes by Peter Bressan (1663-1731)
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- Опубліковано 17 січ 2022
- Premiere Suitte de pieces par Mr. Hotteterre performed by Heiko ter Schegget and Daniël Brüggen on two voice flutes by Peter Bressan (1663-1731) from the recorder collection of Frans Brüggen.
Peter Bressan was a French recorder and oboe maker based in England. I have a Bressan copy of an alto recorder in F made in boxwood (A=442Hz), built by Marcos Ximenes, a Brazilian traverso and recorder luthier. It is the most haunted and telluric sound I've ever listen to. Thanks for sharing.
These recorders are the "Stradivarius" in the recorder world...in my opinion.
they are but very very hard to obtain, the world has 600 pieces of Strads in existence, the Bressan very few are in playable condition.
Absolutely incredible the sound those instruments make when they play a unison. It creates the 'universal voice of the recorder.'
Wow! I’ve heard lots of original recorders by themselves but played together is whole other world
There is just enough difference in the voices of the recorders to let them be identifiable as they play through the parts. Wonderful.
Gravement. 0:20
Rondeau, Tendre. 5:12
Rondeau, Gay. 7:48
Passacaille. 9:25
Amazing!!!! Incredible performance!! Bravíssimo!!!
Amazing. Very beautiful sound and such a seldom opportunity to hear the „surviving“ originals of this golden age of the recorder before they vanished for nearly 200 years.
A wonderful performance and film. Thank you so much!
LINDO, Saudações do Rio de Janeiro, Brasil!
DANKE, bedankt für eure so wundervoll kultivierte, kenntnisreiche und lebendig - bewegliche Interpretation und überhaupt für den schönen Film, Daniel!
VIVA LA MUSICA
Wow, beatifully played!
Beautiful sound! And all those little things... Bravi!
Maravilhoso!!!Obrigado!!
아름다운 연주입니다. 두 분의 연주에 경의를 표합니다. 감사합니다.
Thank you ! Best wishes from Brazil!
sounds like a dream
Lovely, more please!
I love this.
👏👏💙absolutely beautiful 🥀🥀🥀
Bravo !!
Amazingly well in tune!
Sorry, disagree. Very beautiful music but it's played slightly out of tune. Thats why we get that third layer of sound like a buzzing bee in our ears. Of course it could be horrendously difficult to play completely in tune because of the harmonics of the instruments.
@@scathatch that "third layer" is called resultant, and it's always present when you play two instruments with high harmonics like the recorder. Many exercises and fun sessions of practice can be done playing with the tuning of the phantom third note, but sooner or later you will realize that since there is an error in nature known as the Pythagorean comma, when playing an actual piece music you have to come to a compromise, some intervals will be pure, others not so much. The presence of that buzzing note is not, as some people think, a sign that the performance is out of tune.
I think I’ve heard these beautiful instruments before on a wonderful recording he made of music by Telemann. I remember that before he died, he had a lot of his recorders stolen from a train on which he was travelling. I always wondered what happened to them. Maybe these are the same ones 😮
They better not drink coffee on that slanted table
Mooi, kerels
餘音繚繞 殘影追逐 飄飄忽忽 半死半生
Ehrfürchtig lausche ich dem Klang dieser beiden Meister(Blockflöten)
Why do people complain about the look of "cheap shiny plastic" recorders?
These look exactly like them.
Outstanding in tune, sound, "style". What could be the reason why three-century-old instruments are so good, maybe they can't make a similar one today (?) ....
They can make ones just as good now but most recorder players choose instruments which have been modified to play with simpler fingerings and that can take more air and play louder.
because of the culture of artisanal making in all sort of works that was born in Florence during renaissance and expanded to France . That culture slowly disapeared during 19th century with industrial revolution
@@L14B Ok, this is clearly the case, but since there are still very good craftsmen today, who approx. are close to the old handicraft art, could there not be other reasons: 17-18. century wood quality, wood treatment, drying time, etc.?
That's a pity that the Wood quality on our world becomes worse and worse because of illegal Wood robbery, fires, fungus Epidemias and other catastrophies. Luthiers of all Instruments are therefore increased forced to replace their Material by other Materials. For example plastics, new Material from eggshells and a glue, for example applied for Piano Keys, and other Materials. For that reason , the Wood prizes for Soundwood become higher and higher, that prize depends also on the General prizes for Wood for example used for furniture, buildings, paper Produkts or burning purposes.
,,
OK, but.....I much prefer a solo recorder
Beautiful sound if recorded a little too close and great adherence to the early French baroque style but I have serious reservations about the performance. A strange stiffness prevails exacerbated by some awkwardly executed ornamentation which have the opposite effect. The inherent excitement of the last few bars of the passacaille is completely lost or discarded. Compare this to the recording by Frans Bruggen and Kees Berke from the late 60s on two trebles which began the French style education of so many young musicians at the time and this seems a backward step
Cool, thanks as i'm just starting @ 63, my 1st tenor ABS will appear like "The Great Pumpkin" in Oct.! Your comment shed light so, I've gone & 're-'listened with different [ear] ? Appreciate your help.
Very harsh feedback. Given the player started at the age of 63. However I do agree with some of your criticism. It seems slightly out of tune, hence the buzzing like a bee in the ears. Getting recorders to play perfectly in tune isn't easy due to the natural intonation of the instrument !
at the age of 63 ?? who? nobody here ! they both began in the 70'...
Hm, I like it quite a bit.
I think the interpretation is too careful at many points, but I don't see it as detrimental or a backwards step, no one nowdays plays the way fb did back then. Despite the inmense musical value of those performances, many manierisms of that era are a thing of the past. There are many outstanding recorder performers in the present day, so the constant reference to fb as the golden standard of recorder playing is for me kind of a step backwards.
beautiful, but they do go a bit of out of tune, especially in the higher registers.
Out of tune? I don't agree. You hear some times that beautiful weakness of sharps and flats that are particular for the recorder, I love it. You hear some notes interfere because the range of overtones and undertones is very wide, specially on this voice flutes, it's just delicious. I really tried to hear what you mean but for me it's just a pleasure for the ears.
Sometimes the 'buzz' hurts my ears. Like having a chainsaw in the brain.
@@wouterruifrok7642
l n'y a pas besoin d'écouter longtemps pour s'apercevoir du nombre important d'erreurs musicologiques commises par cette interprétation :
1 ) Bressan vivait à Londres, où l'on utilisait des flûtes de voix en ré, et non en France où elle n'étaient pas du tout usitées, sinon Hotteterre en aurait fabriquées. Or il ne nous en reste aucune de ce facteur-compositeur de cette suite !
2 ) Cette suite est écrite originellement en si mineur pour deux flûtes traversières. Or, Hotteterre spécifie bien que lorsque ses pièces descendent trop bas pour la flûte à bec, on peut les monter d'une tierce : il est donc clair qu'il pensait à la flûte alto en Fa.
Cette suite, ainsi transposée, passe du si mineur au ré mineur, ce qui convient parfaitement à la flûte en Fa.
3 ) Je l'ai jouée à la flûte traversière, mais je l'ai trouvée nettement plus convaincante à la flûte à bec alto à cause de son caractère assez percutant que n'a pas la flûte traversière. Je l'ai joué ainsi avec un ami salle Cortot, à Paris, et elle a été très appréciée.
4 ) Les erreurs de tempos sont manifestes. L'ouverture est beaucoup trop lente et perd toute sa nervosité d'ouverture à la française. Même erreur pour la suite "Gay" de l'ouverture, etc...j'ai trouvé cela tellement ennuyeux que j'ai arrêté mon écoute là !
5 ) Les notes tenues doivent être filées ( ce qui implique rectitude du son et léger crescendo ) et non vibrées, pour laisser entendre le motif joué par l'autre flûte. On dirait vraiment deux amateurs qui n'ont jamais joué de musique barque française !