The life of Raffaele Trevisani, and his contribution to modern day flute pedagogy

Roberts, Myles (2017-03)

Thesis (MMus)--Stellenbosch University, 2017.

Thesis

ENGLISH ABSTRACT: The Italian born concert flutist and pedagogue, Raffaele Trevisani (born in 1955), is arguably one of the best-known flutists and pedagogues in Europe at present. During his career, he has directly and indirectly influenced countless flutists across the globe through his various concert tours, master classes and, most recently, his published teaching video. Current and former students of Trevisani all speak of his “limitless approach” to music, in conjunction with the technical aspects of the flute. There is an impression that Trevisani’s way of playing and teaching the flute directly links to James Galway more than to any other flutist, and many students are attracted to him for this reason. This study seeks to gain a better understanding of Trevisani’s life, while shadowing the method of Sir James Galway, by answering the following question: “As one of the few flutists who had the privilege of studying with Sir James Galway, to what degree is Raffaele Trevisani a carbon copy of Sir James Galway? If not, what exactly is the difference, and why is the difference important?” The question will be answered in three steps. Firstly, a biography of Trevisani has been constructed which focuses on the musical influences that formed him as a flutist and discusses the course of his career. It shows Trevisani as someone who questioned the accepted concepts of how things should be done, and continually searched for better ways of playing until he found his ideal method in James Galway. His impact on the classical music community worldwide includes not only his widespread concert tours, but also the countless students he taught. Secondly, the methods of Marcel Moyse and James Galway are discussed in order to come to a better understanding of the context in which Trevisani developed his own teaching method. Thirdly, Trevisani’s own methods are documented and discussed. When compared to the work of the above-mentioned pedagogues, Trevisani’s methods appear to have been inspired by the discipline, philosophy and systematic approach of Moyse. However, Galway’s ideas, with the focus on playing against the flute’s natural temperaments, firm grip of the hand position in support of the embouchure, loud low register and controlled top register, seem to have shaped most of Trevisani’s teaching methods and playing style.

AFRIKAANSE OPSOMMING: Dit is debateerbaar dat die Italiaanse konsert fluitspeler en pedagoog, Raffaele Trevisani (1955) tans een van die mees bekendste konsert fluitspelers, sowel as pedagoë in Europa is. Tydens sy loopbaan het hy talle fluitspelers, beide direk en indirek, beïnvloed deur sy verskeie konserttoere wêreld wyd, meestersklasse, en mees onlangs deur sy gepubliseerde onderrigvideo. Huidige en voormalige studente van Trevisanni praat almal van sy “onbeperkte benadering” tot musiek in samewerking met die tegniese aspekte van die fluit. Daar is ʼn indruk dat Trevisani se spel en onderrig direk aan James Galway, meer as enige ander fluitspeler, gekoppel is, dus is baie studente tot hom getrokke as gevolg van bogenoemde rede. Hierdie studie poog om ʼn beter begrip van Trevisani se lewe te kry en, gepaardegaande, Sir James Galway se metode van spel en onderrig te ondersoek, sodoende die volgende vrae te beantwoord: “Siende dat hy as een van die minste fluitspelers is wat by Sir James Galway studeer het, tot watter mate is Trevisani ʼn direkte kopie van Sir James Galway? Indien nie, wat presies is die verskil, en hoekom is die verskil belangrik?” Die vraag word in drie stappe beantwoord. Eerstens, word daar ʼn biografie van Trevisani saamgestel wat fokus op die musikale invloede wat hom as ʼn fluitspeler gevorm het, en die duur van sy loopbaan word ook bespreek. Dit bewys dat Trevisani iemand was wie die metodes en konsepte van fluitspel bevraagteken het, en wie voortduurend beter maniere gesoek het om te speel, totdat hy sy ideale manier by James Galway gevind het. Sy impak op die klassiekemusiek gemeenskap, wêreldwyd, omvat nie net sy wyd verspreie opvoeringstoere nie, maar ook talle studente deur sy onderrig. Tweedens, word die metodes van Marcel Moyse en James Galway bespreek om sodoende ʼn beter begrip te kry oor die konteks waarbinne Trevisani sy onderrigmetode gebaseer het. Derdens, word Trevisani se metode gedokumenteer en bespreek. Wanneer die bogenoemde pedagoge vergelyk word met Trevisani, kom dit voor dat sy metodes geïnspireer word nie net deur die dissipline nie maar deur die filosofie en sistematiese benadering van Moyse. Dit is egter Galway se idees met die fokus daarop om téén die fluit se natuurlike temperamente te speel, sterk handposisie wat die embouchure versterk, harde lae register en beheerde hoë register, wat voorkom as die basis van die meerderheid van Trevisani se onderrig metodes en spelstyl.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/101059
This item appears in the following collections: