Hugot Wunderlich S Methode printable pdf download

Rubinoff, K. “Revolutionizing Nineteenth-Century Flute Technique: Hugot-Wunderlich’s Méthode de Flûte (1804):

Part I”

Traverso 22, no. 1 (January 2010).

Reprinted with permission. No further reproduction is authorized without written

TR AVERSO

permission from Traverso.

TR AVERSO

Volume 22

Number 1

❖

January 2010

H i s t o r i c a l F l u t e N e w s l e t t e r

Published Quarterly

ISSN 1041-7494

Editor: Linda Pereksta

❖

Revolutionizing 19th-Century Flute Technique:

Hugot-Wunderlich’s Méthode de Flûte (1804)

Kailan Rubinoff

tion whose mission was to provide musical

that it was “one of the most influential flute

accompaniment to patriotic festivals and

methods of all time. ”

Still, it was Hugot and

n 1 vendémiaire an 12 of the

music lessons to the children of National

Wunderlich’s treatise—and not Devienne’s—

French Republican calendar (24

Guard members. When the Paris Conser-

which became the official Conservatoire

September 1803), a curious necrol-

vatoire was established in 1795 by Bernard

teaching method in April 1804. This treatise

ogy appeared in the Correspondance des

Sarrette, a captain in the National Guard,

remained in use there until the 1840s, when

amateurs musiciens, a weekly newsletter

both Hugot and Devienne were engaged

it was supplanted by the Méthode de flûte of

that reported on concerts, aesthetic debates,

as flute professors. That the Conservatoire

Jean-Louis Tulou, Wunderlich’s pupil.

musical instruments and publications for

employed six flute instructors at its inception

Written during a period of enormous

sale, and various other items of interest to

is a testament to this instrument’s impor-

political, cultural and musical change,

Parisian music lovers during the turbulent

tance to military and state music functions.

the Devienne and the Hugot-Wunderlich

years following the French Revolution.

Sadly, Devienne and Hugot suffered from

tutors are of inestimable value to scholars

The notice reads, “We have just lost in a

mental illnesses which contributed to their

and musicians interested in late eighteenth-

very short period of time two men who are

deaths. The obituary notes that Devienne

century and early nineteenth-century per-

equally dear to the art of music, to their

passed away at the Charenton asylum “after

formance practices. Yet the two treatises

families, and to their friends. ” As two of the

a long illness that ended by altering his

present very different approaches to flute

leading virtuosi of the day, these men—Fran-

reason, ” leaving behind a widow and five

playing, a fact that is all the more remark-

çois Devienne and Antoine Hugot—were

children. Hugot, reportedly afflicted by a

able considering all three musician-authors

especially dear to the flute world.

fever, stabbed himself several times with

were working contemporaneously in the

Devienne and Hugot’s shared death

a knife before leaping to his death from a

same institution. Foremost among the dif-

notice belies the remarkable parallels in

fourth-floor window.

ferences is Devienne’s continued advocacy

their lives. Born two years apart (Devienne

Despite their tragically early demises,

for the one-keyed flute. In his preliminary

in 1759, Hugot in 1761), they died less than

Devienne and Hugot had a broad and lasting

discourse, he acknowledges the usefulness

two weeks apart. Both had established their

influence on flute pedagogy and technique.

of the G-sharp/A-flat and A-sharp/B-flat

reputations in the 1780s as composers and

Both flutists published treatises which were

keys, particularly in slow movements or in

soloists at the Concert Spirituel, the most

reprinted, translated and widely circulated

sustained passages, but states that “While I

important French public concert series of

during the nineteenth century. Devienne’s

do not use them, I approve of them, but only

Nouvelle Méthode Théorique et Pratique Pour

the eighteenth century.

In the 1790s, both

in these cases, because in passagework, they

performed in the renowned orchestra of the

la Flute was published by Imbault ca. 1794,

become useless and only serve to add to the

Théâtre de Monsieur and its successor, the

and reprinted at least 28 times.

Antoine

difficulty; given that the simplest manner is

Théâtre Feydeau, with Hugot as principal

Hugot’s Méthode de Flûte appeared post-

the best manner in my view, I cannot stress

flutist and Devienne as bassoonist. During

humously in 1804, having been edited and

enough to students to put it into practice

the aftermath of the French Revolution,

completed by his Conservatoire colleague

as much as possible. ”

Devienne’s fingering

Devienne and Hugot asserted their loyalty

Johann Georg Wunderlich, and published

charts do not include keys other than the

to the Republican cause by joining the band

by the Conservatoire press; it was reprinted

usual one for D-sharp/E-flat, and no pas-

of the National Guard; Devienne eventually

at least 12 times, including translations

sages in the exercises and duets appear with

rose to the rank of sergeant. Both taught in

in Italian and German.

Jane Bowers has

indications for them.

the Free School of Music and its successor,

suggested that the especially numerous

By contrast, Hugot and Wunderlich

the Institut National de Musique, an institu-

reprintings of Devienne’s method indicate

declare a decided preference for the four-

Page 1

Hugot Wunderlich S Methode

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