Uploaded June 2011 | Updated September 2026, 3 days ago
Performed here by The New Bach Collegium Musicum Leipzig with Eckart Haupt on the Flute and Max Pommer at the baton.
Johann Joachim Quantz (01/30/1697 - 07/12/1773), is, as with many of his excessively talented Baroque counterparts (the likes of Telemman or Biber, both of whom I love, or Vivaldi, Bach or Handel, with whom I am not quite so enamored), lost among the plethora of composers that are oft forgotten too easily or lost too quickly...
At any rate, Quantz's output was varied and extensive, his grasp of musical instruments, concepts of music theory and his general God-given gift for excellence in and understanding of all things music, was not wasted.
The young Quantz was a talented violinst (taking after his uncle who raised him when a young Johann's father died) and oboist.
The flute later caught Quantz' attention and he became a virtuoso whilst playing for Frederick Augustus II of Poland (King of Poland, Grand Duke of Lithuania, Ruthenia, Prussia, Masovia, Samogitia, Kiev, Volhynia, Podolia, Podlaskie, Livonia, Smolensk, Severia, Chernihiv, and hereditary Duke of Saxony and Prince-elector) making a name for himself as the finest flautist in all of Europe, touring France and England and eventually becoming a teacher, flute maker and court composer to Frederick II of Prussia (Frederick the Great).
Quantz was an innovative flute maker and modified the instrument greatly, making changes such as adding keys to the instrument to help with intonation. Quantz was always willing to speak his mind regarding the instrument he mastered, even at the expense of the "greats"; being quoted that he "criticized Vivaldi for being too wild when he played."
Quantz would compose a great many works including more than 300 concertos for the flute alone. He is best known, however, through history as the author of "Versuch einer Anweisung die Flöte traversiere zu spielen" (1752) in English titled "On Playing the Flute", a treatise on flute playing. It was and is a valuable source of reference regarding performance practice and flute technique in the 18th century.
Quantz not only changed the landscape of performing, but also changed performance (through his instruction to many talented students) and sound (through his adaptation of the instrument he grew to know so well).
Performed here by The New Bach Collegium Musicum Leipzig with Eckart Haupt on the Flute and Max Pommer at the baton.
Johann Joachim Quantz (01/30/1697 - 07/12/1773), is, as with many of his excessively talented Baroque counterparts (the likes of Telemman or Biber, both of whom I love, or Vivaldi, Bach or Handel, with whom I am not quite so enamored), lost among the plethora of composers that are oft forgotten too easily or lost too quickly...
At any rate, Quantz's output was varied and extensive, his grasp of musical instruments, concepts of music theory and his general God-given gift for excellence in and understanding of all things music, was not wasted.
The young Quantz was a talented violinst (taking after his uncle who raised him when a young Johann's father died) and oboist.
The flute later caught Quantz' attention and he became a virtuoso whilst playing for Frederick Augustus II of Poland (King of Poland, Grand Duke of Lithuania, Ruthenia, Prussia, Masovia, Samogitia, Kiev, Volhynia, Podolia, Podlaskie, Livonia, Smolensk, Severia, Chernihiv, and hereditary Duke of Saxony and Prince-elector) making a name for himself as the finest flautist in all of Europe, touring France and England and eventually becoming a teacher, flute maker and court composer to Frederick II of Prussia (Frederick the Great).
Quantz was an innovative flute maker and modified the instrument greatly, making changes such as adding keys to the instrument to help with intonation. Quantz was always willing to speak his mind regarding the instrument he mastered, even at the expense of the "greats"; being quoted that he "criticized Vivaldi for being too wild when he played."
Quantz would compose a great many works including more than 300 concertos for the flute alone. He is best known, however, through history as the author of "Versuch einer Anweisung die Flöte traversiere zu spielen" (1752) in English titled "On Playing the Flute", a treatise on flute playing. It was and is a valuable source of reference regarding performance practice and flute technique in the 18th century.
Quantz not only changed the landscape of performing, but also changed performance (through his instruction to many talented students) and sound (through his adaptation of the instrument he grew to know so well).
