I'd say the modern bass flute is limited to homogeneous ensembles (ie flute choirs
or [at most] smaller woodwind groups) or chamber music (Mancini-style or
avant-garde) due to the low output level. Advanced recording ability, I'd also say,
has boosted its role as well. Its color, I'd think, would be most valuable in the
smaller settings above & would likely get lost in a wind ensemble tutti or even
semi-tutti. Where it appears in larger ensembles, it should appear in a dairly
prominent role to take best advantage of it ithout drowning it out. (?)
Just an impression from a brass player who sees bass flute from time to time, always in
the "chamber-y" contexts above. Someone such as Andrew may have a different
experience.
Jim
From: Kim Patrick Clow
Sent: Tue 15-May-07 9:22
To: [email protected]
Subject: [Finale] O.T. Bass Flutes
Good morning all:
I'm working on some pieces that are scored for flute d'amore. I've
done a bit of research into them, which in turn had me wondering about
the bass flute, which I first encountered in jazz music, and
thoroughly enjoy.
I have a recording on Hyperion that features flute music from the
Middle Ages to the baroque period, with quite a few pieces featuring
the bass flute (on period instruments). My question is: why didn't the
bass flute become a part of the standard music ensemble, given the
popular nature of oboes (along with their variant sizes including the
bassoon).
I would have guessed composers in the baroque would love the rich
sounds of the bass flute. This is completely my personal opinion, but
I'd prefer the bass flute over the bassoon's more nasal sound. My
hunch is there was some intonation issues with the flute family that
prevented a general adoption by composers. If anyone has more
knowledge about this, I'd love to hear about it.
Thanks.
Kim
--
Kim Patrick Clow
"There's really only two types of music: good and bad." ~ Rossini
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