Category:Drouet, Louis François Philippe Alternative Names/Transliterations: Louis Drouet, Philip Drouet, L. Drouet. = S. 72 Studies for the Boehm Flute. Free printable flute sheet music and accompaniment tracks for pieces by Louis Drouet. This sextuplet-based study is taken from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet.

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A French flute player who studied composition with Mehul and Reicha. His compositions were of flutr great musical import but his “Cent etudes pour la flute” studies for the flute was reprinted several times for its use toward potential virtuosity. Rockstro’s Treatise on the Flute ofwhere I found them.

His amazing facility in rapid passages concealed these defects, but we are fully persuaded that had he performed an adagio in a flat key, the imperfections would have been manifest to the most cursory observer.

If tone were visible to the eye, we would liken that which he produces to pillars of crystal in the sunshine, so clear, so transparent, so brilliant, and so solid withal, that it seems the very essence of tone, without a cloud or particle of alloy in its composition. Get Spotify Open Spotify. He was using a French flute at that time.

72 Studies for the Boehm Flute (Drouet, Louis François Philippe)

Drouet went to London where he was met with great admiration primarily for his technical merit. The second quote is from the Quarterly Musical Magazine. Probably these were pillars of silver, and not crystal in the sunshine. To play this content, you’ll need the Spotify app. We – and our partners – use cookies to deliver our services and to show you ads based on your interests.


Flutr method of articulation, though resembling double-tongueing, was not really so, but was some modification peculiar to himself, which gave him the power of the most brilliant, distinct and rapid execution that can be conceived, and to which he seemed to think every other excellence worthily sacrificed. This construction of the instrument, however, totally destroyed all its lower rich, mellow tones, and deprived the performer of those contrasts which are so important.

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Following are two English commentaries of the playing of Louis Drouet — In the preface to the introduction of the English edition of his Method, Drouet recommends that the beginner commence “at once with an eight-keyed instrument”, rather than starting with a one or a four-keyed flute.

Drouet’s talents as a performer deservedly received the most brilliant applause on his arrival in this country, but it could not escape doruet attention of the intelligent observer that the embouchure, as well as the bore of his flute, was made exceedingly small for the purpose of giving brilliancy to the upper notes, on the display of which, he manifestly rested the principal attraction of his performance.

Both comments refer, I believe, druet Drouet’s performances in London in By the age of 16 he was the official flutist for the King of Holland and became a success in Paris shortly thereafter. This gave a monotonous effect to all he did. Into an early retirement, Mendelssohn persuaded Drouet to tour once again.


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His virtuosity preceded him. He did not wish to become stagnant in one place and insisted on the persona of a travelling player. The delight, and we may add, the astonishment with which his first performance was heard, was diminished at the second or third, and at length a talent so calculated to excite admiration was regarded with indifference.

His execution is the very beau ideal of perfection, it is quite miraculous. The comments are reprinted in R.

Louis Drouet 8-Keyed Flute | Smithsonian Institution

The descriptions match some of my ideas of the sound and characteristics of French simple system flutes, and the second review conveys a perhaps more typical English opinion of these flutes. Drouet; it must be heard to be appreciated. By the manner in which he executed his passages, one would be inclined to think that he had originally practised on a one-keyed flute, for in slow execution the defects of his fingering were very perceptible.

The first is attributed to W. He was born in Amsterdam, to a French refugee father and a Dutch mother. His intonation was perfect, but there was no volume of tone, and the absence of the richer tones of the flute rendered him unable to play an adagio with anything like the effect which such a movement requires.