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Karg - Elert - 30 Caprices for flute solo

Karg - Elert - 30 Caprices for flute solo

Karg - Elert - 30 Caprices for flute solo. You can download the PDF sheet music Karg - Elert - 30 Caprices for flute solo on this page. The 30 Caprices originated from the urgent need of forming a connecting link between the existing educational literature and the unusually complicated parts of modern orchestral works by Richard Strauss, Mahler; Bruckner, Reger, Pfitzner, Schillings, Schonberg, Korngold, Schreker, Scrjabin, Strawinsky and the most modern virtuoso soli. They are therefore meant in the first plate to serve as a technical preparation to these already existing works, viz: to help the flautist, by means of progressive and special studies, to attain the high standard demanded by them. Besides this the Caprices explore new and untrodden paths in technique; a technique which may be required from one day to another in some new impressionistic or expressionistic work. Sure signs are to be seen that the demands made of the liveliest of all the woodwind instruments are rapidly increasing from year to year.

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Flute part: 32 pages. 1767 K


Karg - Elert - 30 Caprices for flute solo - Flute part - first page
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These Caprices, as well as Karg Elert's other works for flute, composed between 1915 and 1918, owe their inception to the eminent artist Cart Bartuzat,principal flautist of the Leipzig Theater-and Gewandhaus-Orchestra.

These Caprices are therefore meant to be a synthesis of all the possible progressive technique demanded by the character and construction of the modern flute, above all the unparalleled "Boehm flute"; and it was far from author's intention to write work that "lies easily in the fingers" On the contrary, the student must learn what does not lie easily. All that is new and unaccustomed can obviously not lie easily at first. But the chief difficulty lies most often in the novelty of the con structive idea, Here it is quite impossible to achieve success without a rapid mental grasp of the formal structure, and an instantaneous grouping (as regards harmony, phrasing and motive) of the lower parts, which may, or may not, belong together. The appendix to these studies: Analysis of complicated technical forms should give useful hints in comprehending and memorizing the more complicated figurations.

The modern orchestral composer never considers the " convenient technique" but, where needed, his desire for expression creates a new technique which often presents the most difficult problem to the instrumentalists. Thus it is not only the virtuosi, but above all the composers (think of Berlioz, Wagner, Richard Strauss, Mahler etc.) who have extended and are still extending the language of the instruments. The requirements of the virtuoso are more of a physical, those of the composer of an aesthetic nature. The former takes his starting-point from the natural technique, based on the structure of the instrument (harmonies, position of keys or stops); the latter, on the other hand, has in mind only the individual effect produced by the tone-quality of the instrument. And unfortunately, these requirements are often not compatible with the physical structure of the instrument. It is then , as a third factor, that the instrument-maker endeavours by his improvements, to increase the physical characteristics of the instrument and hence to enlarge and intensify its technical scope. Without apparently "impossible demands" on the part of the composer, the instrument would scarcely have reached so high a degree of perfection.

The construction of the modern flute {especially the Boehm flute) is such as to reveal, with the greatest ease, wonder* which would have been considered almost impossible only thirty years ago. The existing literature does not nearly exhaust the unlimited technical possibilities. The typical modern literature has in especial hardly kept pace with the development of the instrument, which is able to produce greater variety than might be supposed from these works. The present Caprices take the classical technique of Bach, Handel and Mozart as their starting point and pass rapidly to the style of today. In some passages will be found obvious instances of the influence of typical forms of the Violin (springing how, Cadence arpeggios,) and of pianoforte technique (modern broken chords in elaborately varying harmonies), suitably adapted. This higher development of style or form through the technique of different instruments has from times of old played a very remarkable part in the history of technique.

The enormous progress made in the domain of harmony urgently demands a corresponding development of intonation. Here, a clear recognition of the harmonic functions is the chief essential needed by the flautist to solve the given technical problems, if he would avoid leaping shortsightedly from one note to the next. Modern means of expression that occur frequently are: Scales in major seconds; in diatonic intervals interrupted by chromatics; chromatically repeating or recurring runs in curves; broken major second progressions; broken fourths, fifths, major sevenths and minor ninths (resp. augmented or diminished octaves); major second chords and harmonised fourths in arpeggios; chromatic or major second transpositions of large- or small groups or motives; suspensions and anticipations freely approached or quitted; parallel and extreme breaks of two harmonically independent parts. Rhythmical and metrical problems have been set, for the modern instrumentalist will only too frequently find himself confronted with similar tasks. Finally attention must be given to articulation and phrasing, the difficulties of which must not be underestimated. When alt the difficulties accumulated in this work have been mastered — needless to say, only after a very gradual increase of speed — there should hardly be an orchestral work which could present insuperable obstacles to the executant. The difficult unit always grow easy by overcoming the more difficult.
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