Johann Joachim Quantz (30 January 1697 - 12 July 1773)
Johann Joachim Quantz (30 January 1697 - 12 July 1773) was a German flautist, flute maker and composer.Quantz was born in Oberscheden, near Göttingen, Germany, and died in Potsdam.
He began his musical studies as a child with his uncle (his blacksmith father died when Quantz was young. At his deathbed, he begged his son to follow in his footsteps), later going to Dresden and Vienna. It was during his time as musician to Frederick Augustus II of Poland that he began to concentrate on the flute, performing more and more on the instrument. He gradually became known as the finest flautist in Europe, and toured France and England. He became flute teacher, flute maker and composer to Frederick II of Prussia (Frederick the Great) in 1740. He was an innovator in flute design, adding keys to the instrument to help with intonation, for example.
Although Quantz wrote many pieces of music, mainly for the flute (including around 300 flute concertos), he is best known today as the author of Versuch einer Anweisung die Flöte traversiere zu spielen (1752), a treatise on flute playing. It is of great interest today as a source of information on performance practice and flute technique in the 18th century.
The works list Johann Joachim Quantz of was established by Horst Augsbach. QV stands for 'Quantz Verzeichnis', and Anh. for Anhang (supplement) when the authenticity of the works is spurious.
The numbering follows the catalogue Catalogue des solos pour Sans Souci started in 1763 and continued in 1769 by the Catalogue des solos pour le Nouveau Palais that contains works of both Quantz and his student Frederick II, King of Prussia. These two catalogues start at number 88. The previous catalogue Catalogue des solos pour Potsdam containing sonatas Nos. 1-87 was lost. The sonatas by Quantz are numbered as follows: 88-105, 142, 219-361. The sonatas by Frederick II are: 106-141, 143-218. The sonatas with a Roman numeral numbering are part of the collection Sonata a flauto traverso solo e cembalo da Gio: Gioacchino Quantz.
Jacques-Martin Hotteterre (29 September 1674 - 16 July 1763)
Jacques-Martin Hotteterre (29 September 1674 - 16 July 1763), also known as Jacques Martin or Jacques Hotteterre, was a French composer and flautist. Jacques-Martin Hotteterre was the most celebrated of a family of wind instrument makers and wind performers.Born in Paris, he was the son of Martin Hotteterre (d. 1712) and Marie Crespy. As early as 1689 or 1692, Jacques-Martin Hotteterre may have held a post as basse de hautbois et basse de violon in the royal court, but it is possible that the Jacques Hotteterre in this post was an older relative of Jacques-Martin's, who had been earlier employed as a musician in the English Royal court.
Hotteterre lived and studied in Rome early in his career, and his nickname le Romain (the Roman) came from this period. He spent two years (1698-1700) employed by Prince Francesco Ruspoli in Rome,[1] before adopting the nickname of "Le Romain" at some point between 1705 and 1707. By 1708, he became a musician to the king of France, in the king's 'Grande Écurie, and in 1717, he inherited René Pignon Descoteaux's post as Jouëur de Fluste de la musique de chambre. By 1743, he was listed among the most famous musicians in France.
Hotteterre owed his fame largely to his talent playing the flute, an instrument for which he wrote a number of pieces, significantly extending the repertory for the instrument. In addition, he played the bassoon, oboe, and musette. Jacque-Martin Hotteterre was also an internationally celebrated teacher to aristocratic patrons, and he wrote a few methods for the transverse flute. His L'Art de préluder sur la flute traversiere (1719) is an excellent source on ornamentation and improvisational practices during this period.[citation needed] It underscores his highly developed technique and includes pieces in nineteen keys.
In addition to performance and teaching, Hotteterre continued his family's tradition of wind instrument making.[citation needed] It may have been Hotteterre who made a number of changes in the design of the transverse flute, though there is little concrete evidence for this. Most notably, the flute, which had previously been made in one cylindrical piece, was cut in three pieces: the head (with the mouthpiece), the body (with most of the holes) and the foot (with several holes).
He died in Paris in 1763.
François Devienne (January 31, 1759 - September 5, 1803)
François Devienne (January 31, 1759 - September 5, 1803) was a French composer and professor for flute at the Paris Conservatory.François Devienne was born in Joinville (Haute-Marne), as the youngest of fourteen children of a saddlemaker. After receiving his first musical training as a choirboy in his hometown, he was playing in various Parisian ensembles as soloist and orchestra player. He studied the flute with Félix Rault and in 1780 he joined the household of Cardinal de Rohan. He was active in Paris as a flautist, bassoonist and composer, and played bassoon at the Paris Opera. He wrote successful operas in the 1790s, including Les visitandines (1792) which brought him much success.
He was also a member of the 'Military Band of the French Guard' where he was given the rank of sergeant with the duty of teaching the children of his colleagues in the military band in its Free School of Music. After the Revolutionary period, when Free School became the National Institute of Music, later chartered as the Paris Conservatory in 1795, François Devienne was appointed an administrator and flute professor. He wrote an important Flute School 'Méthode de Flute Théorique et Pratique' (1793), which was reprinted several times and did much to improve the level of French wind music in the late 18th century. Like many other musicians, he joined the freemasons and 'Concerts de la Loge Olympique' orchestra.
Devienne died at a sanatorium in Charenton near Paris on September 5, 1803.
His output comprises c. 300 instrumental works that are mostly written for wind instruments. There are a dozen of flute concertos, sinfonias for woodwinds, quartets and trios for different ensembles, 12 operas, 4 bassoon concertos, and 6 bassoon sonatas in an elegant melodic style.
Devienne's compositions for flute, revived by Jean-Pierre Rampal in the 1960s, are now better known to flautists, but still not, unfortunately, to the public at large. As well as extensive educational work, including the well-known Méthode of 1794, with its extremely interesting articles on technique and style of the time, his collected work also includes eight books of sonatas for flute or bassoon, a variety of chamber music and no less than seventeen concertos. The brilliant and melodic style of these last makes them perfect examples of the concertante classical genre, comparable only to work by the Viennese composer Franz-Anton Hoffmeister (1754 - 1812), who himself wrote some 25 concertos for flute.
Devienne's concertos, however, are, remarkably enough, frequently closer to the spirit of Mozart, who while in Paris had attended the Concerts spirituels. It was there that Devienne frequently, and with great success, played his compositions, which were brilliant reflections of the elegant tone of Paris at the time. Concerto No. 2 in D major is an example of grace and balance, two characteristics to be found in the fine portrait of the composer by Jacques-Louis David, qualities which are associated with Mozart, explaining why Devienne was called the French Mozart.
François Devienne is the ancestor of Tonino Devienne.
Theobald Böhm (or Boehm) (April 9, 1794 - November 27, 1881)
Theobald Böhm (or Boehm) (April 9, 1794 - November 27, 1881) was a German inventor and musician, who perfected the modern Western concert flute and its improved fingering system. In addition, he was a virtuoso flautist and was a Bavarian Court Musician as well as a celebrated composer for the flute.Born in Munich in Bavaria, Boehm learned his father's trade of goldsmithing. After making his own flute, he quickly became proficient enough to play in an orchestra at the age of eighteen and at twenty-one he was first flautist in the Royal Bavarian Orchestra. Meanwhile, he experimented with constructing flutes out of many different materials such as tropical hardwoods (usually Grenadilla wood), silver, gold, nickel and copper as well as experimenting with changing the positions of the flute's tone holes. After studying acoustics at the University of Munich, he began experimenting on improving the flute in 1832, first patenting his new fingering system in 1847. He published Über den Flötenbau ("On the construction of flutes"), also in 1847. His new flute was first displayed in 1851 at the London Exhibition. In 1871 Boehm published Die Flöte und das Flötenspiel ("The Flute and Flute-Playing"), a treatise on the acoustical, technical and artistic characteristics of the Boehm system flute.[1] Many people admire his work, and some of the flutes he made still function. There have also been attempts to adapt his fingering system to other instruments, like the oboe and the clarinet.
Marcel Moyse (May 17, 1889 - November 1, 1984)
Marcel Moyse (May 17, 1889 - November 1, 1984) was a famous French flute player, for whom many pieces were written (eg. the Concerto by Jacques Ibert, 1934). He was also a gifted flute teacher, and authored many studies and exercises for flute.
Marcel Moyse was born on 17 May 1889 in St. Amour, France. He studied at the Paris Conservatory and was a student of Philippe Gaubert, Adolphe Hennebains and Paul Taffanel, all of whom were distinguished virtuosos in their time. His trademark tone was clear, flexible and penetrating, enlivened and controlled by a fast, though natural, vibrato. This was characteristic of the 'French style' of flute playing that was to influence the modern standard for flutists worldwide.
Marcel Moyse was a founder of the Marlboro Music School and Festival. He was an inspiring teacher who strove to teach his students not how to play the flute but to make music. He often performed together with his son, Louis Moyse (1912-2007)[1]. Among his many students were Trevor Wye, William Bennett, James Galway and Jean-Claude Gérard.
Marcel Moyse died on November 1, 1984 in Brattleboro, Vermont, United States.
Among the many studies that he wrote is Tone Development through Interpretation published by McGinnis & Marx.
Louis Moyse (August 14, 1912 - July 30, 2007)
Louis Moyse (August 14, 1912 - July 30, 2007) was a famous French flute player and composer. He was the son of influential French flutist Marcel Moyse. He was a co-founder of the Vermont Marlboro Music Festival and was a teacher to top flutists all over the world. He died of heart failure at age 94.Louis Moyse was born in Scheveningen, Netherlands during one of his father's tours. His first flute teachers were his father and Philippe Gaubert. Louis Moyse was a member of the successful Moyse Trio where his father played flute, Louis played piano and his former wife, Blanche Honegger Moyse, on the violin.
Louis Moyse also taught for 27 years at Marlboro College, was professor at the Boston University and the University of Toronto. He continued giving private lessons in Westport, New York while touring with his wife Janet White Moyse, of 33 years, around the world and the United States. Later moving to Montpelier, Vermont, where they resided for the last nine years of his life. He also gave semi-annual master classes and concerts in his hometown, St.-Amour, France, until 2004.
He is considered by some to be one of the most prolific producer of flute music worldwide. His publications are with G. Schirmer, Southern Music, Theodore Presser, McGinnis & Marx, E. Henry David Music Publishers, Leduc (France) and Zen-On (Japan).
Jean-Pierre Louis Rampal (7 January 1922 - 20 May 2000)
Born in Marseille, the only child of Andrée (née Roggero) and flutist Joseph Rampal, Jean-Pierre Rampal became the first exponent of modern times to establish the solo flute on the international concert circuit and to attract the acclaim and large audiences comparable to those enjoyed by celebrity singers, pianists and violinists. This was not easily done in the immediate post-war years, as it was not usual for the solo flute to be featured widely in orchestral concerts. But Rampal's flair and presence (he was a big man to wield such a slim instrument so delicately) made the breakthrough and, as such, he personally paved the way for the next generation of flutist-superstars such as James Galway and, more recently, Emmanuel Pahud.Rampal was a player in the classical French flute tradition (his father had been taught by Hennebains, who had also taught Rene le Roy and Marcel Moyse), although behind Rampal's superior technical facility lay the cavalier 'Latin' temperament of the Mediterranean south rather than the more formal character of the elite institutions of the Parisian north. His playing style was characterised especially by a bright sound, a sonorous elegance of phrasing lit up by a rich palette of subtle tone colours. He exuded a dashing, lightly-articulated virtuosity that thrilled audiences in his heyday, and he varied his natural vibrato sensitively to suit the intensity of the music he was playing. He also displayed a signature ability to snatch quick breaths in the middle of extended rapid passages without seeming to lose his grip on the persuasive sweep of his rendition. His sweet upper register and his wide dynamic range were particularly notable, and the lightness and crispness of his staccato articulation (his ‘détaché’), heard to great effect on his early recordings, was the envy of many.
He will be remembered principally for creating a popular fashion for the flute in the post-war years, for his recovery of a vast number of flute compositions from the Baroque era, and for spurring contemporary composers such as Poulenc to create new works that have become modern standards in the repertoire.
Under the tutelage of his father Joseph, who was professor of flute at the Marseille Conservatoire and Principal Flute of the Marseille Symphony Orchestra, Jean-Pierre Rampal began playing the flute at the age of 12. He studied the Altes method at the Conservatoire of Marseille where he went on to win the First Prize in 1937, the year he also gave his first public recital at the Salle Mazenod in Marseille, aged only 16. By then, as he reports in his autobiography, Rampal was also playing second flute alongside his father in the Orchestre des Concertes Classiques de Marseille (privately they played duets together almost every day). However, his remarkable career in music, which was to span more than half a century, began without the total encouragement of his parents. His mother and father would rather have seen him become a doctor or surgeon: a more reliable calling, they felt, than that of a professional musician. At the beginning of the second World War, Rampal duly entered medical school in Marseille and studied there for three years. But when in 1943 the authorities of the Nazi Occupation of France drafted him for forced labour in Germany, he went AWOL and made his way secretly to Paris where, by frequently changing his lodgings, it was easier to avoid detection. While there, he auditioned for flute classes at the Paris Conservatoire where, from January 1944, he studied with Gaston Crunelle (whom, years later, he was to succeed as flute professor at the Conservatoire). After just four months, in May of that year, Rampal's performance of Jolivet's Le Chant de Linos won him the coveted First Prize in the conservatory's annual flute competition, an achievement that emulated that of his father Joseph in 1919.
In 1945, following the Liberation of Paris, Rampal was invited by the composer Henri Tomasi, then conductor of the Orchestre National de France, to perform live on French National Radio the demanding Flute Concerto by Jacques Ibert, written for Marcel Moyse in 1934. It launched his concert career overnight and was the first of many such broadcasts. In resolutely promoting the flute as a solo concert instrument at this time, Rampal acknowledged that he took his cue from Moyse. Moyse himself had enjoyed considerable popularity between the wars, although not on a truly international scale. Nevertheless he was a role model in that he had "definitely established a tradition for the solo flute"; Moyse, said Rampal in his autobiography, "unlocked a door that I continued to push open."
With the war over, Rampal embarked on a series of performances, at first within France and then, in 1947, in Switzerland, Austria, Italy, Spain, and the Netherlands. Almost from the beginning he was accompanied by the pianist and harpsichordist Robert Veyron-Lacroix, whom he had met at the Paris Conservatoire in 1946. By contrast with, as Rampal saw it, his own somewhat emotional Provencal temperament, Veyron-Lacroix was a more refined character (a "true upper class Parisian"), but each immediately found with the other a musical partnership in perfect balance. The appearance of this duo after the war has been described as a "complete novelty", allowing them to make a rapid impact on the music-going public in France and elsewhere.In March 1949, in the face of some scepticism, they hired the Salle Gaveau in Paris to perform what then seemed the radical idea of a recital programme made up solely of chamber music for flute. It was indeed one of the first flute-piano recitals the city had seen, and caused a "sensation". The success encouraged Rampal to continue along that track. The recital was repeated the following year in Paris and news of the young flute-player's virtuosity was not slow to spread. Throughout the early 50s the duo made regular radio broadcasts and gave concerts within France and elsewhere in Europe. In 1953 came their first international tour: an island-hopping journey through Indonesia where ex-pat audiences received them warmly. In 1954 onwards came his first concerts in eastern Europe, most significantly in Prague where in 1956 he premiered Jindrich Feld's Flute Concerto. In the same year he appeared in Canada, where, at the Menton festival, he played for the first time in concert with violinist Isaac Stern, who not only became a lifelong friend but also proved a considerable influence on Rampal's own approach to musical expression.
By now, Rampal had America in his sights and on 14 February 1958 he and Robert Veyron-Lacroix made their US debut with a recital of Poulenc, Bach, Mozart, Beethoven and Prokofiev at the Library of Congress in Washington, D.C. Afterwards Day Thorpe, music critic for the Washington Star, wrote: "Although I have heard many great flute players, the magic of Rampal still seems to be unique. In his hands, the flute is three or four music makers - dark and ominous, bright and pastoral, gay and salty, amorous and limpid. The virtuosity of the technique in rapid passages simply cannot be indicated in words." The following year, 1959, Rampal gave his first important concert in New York, at the Town Hall. And so began a long love-affair with the American concert-going public. Rampal's successful partnership with Robert Veyron-Lacroix produced many award-winning recordings, notably their 1962 double LP of the complete Bach flute sonatas. They performed and toured together for some 35 years until the early 1980s when Veyron-Lacroix was forced to retire owing to ill-health. Rampal then formed a new and also long-running musical partnership with American pianist John Steele Ritter.
Herbert Jay Solomon (April 16, 1930 – July 1, 2003), better known as Herbie Mann, was an American jazz flautist and important early practitioner of world music. Early in his career, he also played saxophones and clarinets (including bass clarinet), but Mann was among the first jazz musicians to specialize on the flute and was perhaps jazz music's preeminent flautist during the 1960s.
His most popular single was "Hijack," which was a Billboard Number-one dance hits of 1975 (USA) for 3 weeks.
Herbie Mann was born in Brooklyn, New York. As a teen, he attended Lincoln H.S. in Brighton Beach and was actually failed in a music class. He talks a lot about "the groove." Mann "locked into a Brazilian groove in the early 1960s, then moved into a funky, soulful groove in the late 1960s and early 1970s. By the mid-1970s he was making hit disco records, still cooking in a rhythmic groove." He describes his approach to finding the groove as follows: "All you have to do is find the waves that are comfortable to float on top of." Mann argues that the "epitome of a groove record" is Memphis Underground or Push Push, because the "rhythm section locked all in one perception."
Mann was an early pioneer in the fusing of jazz and world music. He incorporated elements of African music in 1959 following a State Department sponsored tour of the continent, adding a conga player to his band, and the same year recorded Flautista, an album of Afro-Cuban jazz. In 1961 Mann took a tour of Brazil and returned to the United States to record with Brazilian players including Antonio Carlos Jobim and guitarist Baden Powell. These albums helped popularize the bossa nova. Many of his albums throughout his career returned to Brazilian themes. He went on to record reggae in London (in 1974), Middle Eastern (1966 and 1967) (with oud and dumbek), and Eastern European styles.
In the mid-1960s Mann hired a young Chick Corea to play in some of his bands, still with a Latin ti. In the late 1970s, early 1980s Mann played duets at New York City's Bottom Line and the Village Gate to sold out crowds with the late Sarod virtuso Vasant Rai.
Following the 1969 hit album Memphis Underground a number of disco-style smooth jazz records in the 1970s, mainly on Atlantic records, brought some criticism from jazz purists but helped Mann remain active during a period of declining interest in jazz. The musicians on these recordings are some of the best-known session players in soul and jazz, including singer Cissy Houston (mother of Whitney Houston), guitarists Duane Allman and Larry Coryell, bassists Donald "Duck" Dunn and Chuck Rainey and drummers Al Jackson and Bernard Purdie, these last from the Muscle Shoals studio in Alabama.
In this period Mann had a number of songs cross over to the pop charts — rather rare for a jazz musician. A 1998 interview reported that "At least 25 Herbie Mann albums have made the top 200 pop charts, success denied most of his jazz peers."
In the early 1970s he founded his own record label, Embryo[2], distributed by Atlantic Records, and which, apart from his own recordings, produced the 520 Series for jazz albums, such as Ron Carter's Uptown Conversation (1970); Miroslav Vitous' first solo album, Infinite Search (1969); Phil Woods and his European Rhythm Machine at the Frankfurt Jazz Festival (1971); and Dick Morrissey and Jim Mullen's Up (1976), which featured the Average White Band as a rhythm section; and the 730 Series, with a more rock-oriented style, including Zero Time (1971) by TONTO's Expanding Head Band.
He later set up Kokopelli Records after difficulty with established labels.
His first gig was playing in the Catskills at age 15. His last, on May 3, 2003 was at the New Orleans Jazz and Heritage Festival at age 73. Herbie Mann died at age 73 on July 1, 2003 after a long battle with prostate cancer.
Sir James Galway OBE (born December 8, 1939) is a Northern Ireland–born virtuoso flutist from Belfast, nicknamed "The Man With the Golden Flute". Following in the footsteps of Jean-Pierre Rampal, he became one of the first flute players to establish an international career as a soloist.
James Galway studied at the Royal College of Music under John Francis and then at the Guildhall School of Music under Geoffrey Gilbert. He then studied at the Paris Conservatoire under Gaston Crunelle and Jean-Pierre Rampal and also privately with Marcel Moyse.
After his education time he spent 15 years as an orchestral player.[1] Galway played with the Philharmonia Orchestra as it rose to prominence in the 1950s.
He then played with Sadler's Wells Opera, Covent Garden Opera, the London Symphony Orchestra and the Royal Philharmonic Orchestra.[1] He auditioned for the Berlin Philharmonic Orchestra under Herbert von Karajan, and was principal flute of that orchestra from 1969 to 1975. To Karajan's surprise and dismay, after a period of some disagreement, "Jimmy" Galway decided that he would leave to pursue a solo career.
In addition to his performances of the standard classical repertoire, he features contemporary music in his programs, including new flute works commissioned by and for him by composers including David Amram, Malcolm Arnold, William Bolcom, John Corigliano, Dave Heath, Lowell Liebermann and Joaquín Rodrigo. The album "In Ireland" by "James Galway and the Chieftains" reached number 32 in the UK album charts in 1987.
He still performs regularly and is one of the world's most well-known flute players.
He is Principal Guest Conductor of the London Mozart Players, based at the Fairfield Halls, Croydon, South London.
Most recently, Galway has performed for the Academy Award-winning ensemble recording the soundtracks of Peter Jackson's Lord of the Rings film trilogy, composed by Howard Shore.
In June 2008, Galway was inducted into the Hollywood Bowl Hall of Fame along with Liza Minnelli and B. B. King.
He currently performs on Nagahara flutes, as well as some Muramatsu Flutes.
In the 1970s Galway moved from Berlin to Lucerne, Switzerland, the home town of his second wife, Anna (Annie) Renggli, one of the daughters of a well-known local architect. They had twins and a son. In 1978 he recorded for her the famous instrumental version of John Denver's "Annie's Song". After their divorce he moved to Meggen, Switzerland, a village next to Lucerne, where he resides now with his third wife, U.S.-born Jeanne Galway (née Cinnante). They often tour together playing duets, accompanied by Phillip Moll on piano.In addition, they give masterclasses for flutists of all levels.
Galway is also president of a global organisation called Flutewise, a charitable organisation which supports young flute players,[1] run by Liz Goodwin.
In 2003 he formed the Music Education Consortium together with Julian Lloyd Webber, Evelyn Glennie and Michael Kamen to pressure the British Government into providing better music education in schools.
He was made an OBE in 1977 and was knighted in 2001.
Galway's nephew, Martin Galway, is a musician famous for his work on Commodore 64 computer game music in the 1980s.
Greg Pattillo (born July 1, 1977) is a beatboxing flutist originally from Seattle, Washington but now operates in Brooklyn, New York. Pattillo is recognized throughout the world for his redefinition of the flute sound. He was lauded by The New York Times as "the best person in the world at what he does."[1] His performance videos on YouTube, showcasing "beatbox flute," have been viewed more than 20 million times.[2] For example, his Inspector Gadget theme song remix was viewed 17,513,224 times, as of February 24, 2009.
Pattillo earned both his bachelor's and master's degrees from the Cleveland Institute of Music as a student of Joshua Smith, the principal flautist of the Cleveland Orchestra. After a summer spent as the acting principal flute of Guangzhou Symphony Orchestra, Pattillo moved to San Francisco where he was a founding member of the Collaborative Arts Insurgency and the 16th and Mission Thursday night gathering for performers. Pattillo enjoys freelancing as a soloist, and is the flautist of the group PROJECT, the Lalo Quintet, as well as a featured performer at The Box in New York City.
In June 2007, Pattillo was named one of 21 winners of the Metropolitan Transit Authority's "Music Under New York" program. Among other things the award gives Pattillo an official permit, of sorts, to play music in the subway.
Pattillo was also seen on an episode of Nickelodeon's TV series, iCarly (and was said to be Sam's cousin that wasn't in jail) and has videos and recordings on iCarly.com.
Pattillo was also on an episode of Lily Allen and Friends in the UK shown on BBC Three.
Tim Barsky is an American musician from Boston, Massachusetts.[1] Based in the San Francisco Bay Area, he is a beatboxer-instrumentalist, playwright-performer, and urban circus artist.[2] He is a graduate of Brown University with a degree in Islamic and Judaic religious studies. He also studied at the Berklee School of Music and with the Chasidic folklorist and archivist Fishel Bresler.
Trained as a traditional Jewish storyteller,[3] his use of contemporary culture within traditional forms resulted in The Bright River,[4] an underground theatrical piece that achieved cult status within the Bay area.[5] In 2007 he was awarded a $50,000 Gerbode Emerging Playwright's Grant[6] for Track in a Box, a hip hop and circus based play about junkie police, strippers and giant puppets which is set to premiere in Fall 2009.
His work has been produced and performed at The Brava Theatre (2006–08), Climate Theatre (2008; also artist-in-residence), Yerba Buena Center for the Arts in San Francisco (2005), Julia Morgan Theatre in Berkeley (2004–05),[1] Traveling Jewish Theatre in San Francisco (2004), The Exit Theatre in San Francisco (2003), The Finborough Theatre in London (2002), and AS220 in Providence, Rhode Island (1997–2001).
A former line-producer for the Burning Man Arts Festival, and a member of the Hybrid Project at San Francisco's Intersection for the Arts, he has been a guest artist and lecturer at the Royal College of Art (London), Stanford University, RISD, and Oberlin College; a featured speaker at The American Press Institute; and a beatboxing instructor in San Francisco juvenile detention facilities.
He is the artistic director of City Circus and a co-founder of Vowel Movement Beatboxers.
Gyöngyössy Zoltán 1958. február 20-án született Komlón. Alapfokú tanulmányait Apagyi Mária (zongora) és Révész Mária (fuvola) növendékeként kezdte a Kodály Zoltán Általános Iskolában, melynek közismert kórusában Tóth Ferenc Liszt-díjas karnagy keze alatt énekelt. 1972-től a pécsi Művészeti Szakközépiskolában folytatta tanulmányait Barth István irányításával, 1976-tól pedig Pröhle Henriknél tanult a Zeneakadémia fuvola szakán, ahol Pernye András, Kistétényi Melinda, Láng István, Kurtág György és Simon Albert is a tanárai közé tartozott. 1981-ben kitüntetéssel diplomázott. Ezután Drezdában, a Carl-Maria von Weber Zeneművészeti Főiskolán képezte magát Johannes Walter és Arndt Schöne fuvolaművészeknél, majd 1982-ben háromhónapos ösztöndíjat kapott a párizsi IRCAM-ba. Itt alakult ki szakmai kapcsolata Pierre-Yves Artaud-val és Robert Aitkennel.
Tagja volt a Claudio Abbado vezette Európa Kamarazenekarnak, s kezdetben a Budapesti Fesztiválzenekarnak; rendszeresen részt vesz az Eötvös Péter által irányított szombathelyi Bartók fesztivál munkájában. 1993-ban az Ensemble Modernnel turnézott (Frankfurt, Bécs, Berlin); rendszeresen játszott a Budapesti Vonósokkal, a Weiner-Szász Kamaraszimfonikusokkal és az Erkel Kamarazenekarral, illetve az – azóta megszűnt – Új Zenei Stúdióban. Jelenleg a Componensemble, az UMZE és az Intermoduláció együttesek tagja.
Számos kortárszene-szerző ajánlotta neki darabját. Többször is elnyerte az Artisjus díját, 1993-ban Liszt Ferenc-díjat kapott.
Jelenleg a Pécsi Tudományegyetem Művészeti Karának tanára, a budapesti Liszt Ferenc Zeneművészeti Egyetem Tanárképző Intézetének docense, s mindeközben a hangversenyélet aktív résztvevője.
Végzettség, szakképzettség: Liszt Ferenc Zeneművészeti Egyetem - okleveles fuvolaművész-tanár
Munkahely, beosztás: 1999- Csepeli Fasang Árpád Zenei Alapfokú Művészetoktatási Intézmény, 2001- Bartók Béla Zeneművészeti Szakközépiskola, Budapest - művésztanár, 2001- PTE Művészeti Kar Zeneművészeti Intézet, Oktatói tevékenység, művészeti munkásság, szakmai-közéleti tevékenység
Tanulmányai:1983-tól 1987-ig békéscsabai Bartók Béla Zeneművészeti Szakközépiskola, tanárom Alföldy-Boruss Eszter, 1987. Liszt Ferenc Zeneművészeti Egyetem, Kovács Lóránt és Sebők Erika osztálya, 1993-ban kitüntetéses fuvolaművész-tanári diploma.
Mesterkurzusok: Adorján András, Jean-Claude Gérard, Jean-Pierre Rampal, Bálint János, Gyöngyössy Zoltán és Matuz István.
1992-től 1998-ig a Matáv Szimfonikus Zenekar tagja. Közben 1993-tól 1995-ig állandó kisegítőként dolgozik a Budapesti Fesztiválzenekarban. A Componensemble megalakulása óta gyakran részt vesz az együttes munkájában. Számos kortárs zenei kompozíció bemutatója fűződik nevéhez. Mint zenekari muzsikus vendégszerepelt Európa szinte valamennyi országában, az Amerikai Egyesült Államokban és Kanadában. 2000-ben barátaival megalapította a Csepeli Fuvolaquartettet. Az együttessel rendszeresen fellép hangversenyeken, fesztiválokon. 1991-től tanít: 1991-től 1992-ig a budapesti XVII. kerületi Bartók Béla Zeneiskolában, 1994-től 1995-ig a budapesti XI. kerületi Weiner Leó Zeneiskolában, 1996-tól 2001-ig pedig Csepeli Cziffra György Zeneművészeti Szakközépiskolában. 1999-től dolgozik a csepeli Fasang Árpád Zeneiskolában. 2001-től tanít még a budapesti Bartók Béla Zeneművészeti Szakközépiskolában és a Pécsi Tudományegyetem Művészeti Karának fuvola tanszakán is.
Matuz István közvetett és közvetlen hatásának köszönhetően figyelme korán a legmodernebb fuvolatechnika felé fordult, a megismert új lehetőségek ihlették saját kompozícióit is. Kettősfogás-táblázata közel 400 kettőshangzatot tartalmaz. Kurzusokat és a kiterjesztett technikáról szóló előadásokat tartott Magyarországon, Csehországban, Lengyelországban, Oroszországban, Németországban, Belgiumban, Angliában, Brazíliában, Kanadában, Kínában és az Egyesült Államokban. Gyakran szerepel a magyar kortárszenei együttesekkel és ad szólóesteket. Az UMZE Kamaraegyüttes tagjaként szólista szerepben is számos alkalommal lépett fel és készített felvételt Eötvös Péter vezetésével. Az együttes 2009 januárjában a Carnegie Hallban is fellépett New Yorkban. Számos magyar és külföldi zeneszerző komponált és ajánlott műveket Ittzés Gergelynek. 2005 áprilisában a Budapesti Tavaszi Fesztivál keretében mutatta be Anthony Newman fuvolaversenyét a szerző vezényletével. Nemzetközi fuvolás fesztiválok vendége volt Magyarországon, Brazíliában, Atlantában, Frankfurtban, Pittsburghben, Pekingben és Párizsban.
Széles repertoárján az ismert fuvolairodalmon kívül számos ritkaság is szerepel, koncertjein szívesen játszik végig teljes sorozatokat, mint pl. J. S. Bach szonátáit, orgonatrióit, C. Ph. E. Bach, Haendel, Mozart, Weber és Boismortier szonátái, Mozart fuvolanégyeseit vagy Telemann szólófantáziáit. A 2001-2002-es koncertévadban hangversenysorozatot adott Budapesten és vidéken A fuvolairodalom gyöngyszemei címmel, melyen a fuvolára és zongorára, ill. fuvola szólóra írott alapműveket adta elő. 2003-ban egykori növendékeivel megalakította a TeTraVERSI fuvolanégyest.
A klasszikus és kortárs zene mellett számos más stílus is hat zenei világára. Tíz évig a Talizmán nevű etno-jazzrock együttes tagja és zeneszerzője volt, de más jazz-formációkban is fellépett, illetve készített felvételeket (Makám, Emil Viklický, Markus Stockhausen Possible Worlds Orchestra, Leni Stern, Don Thompson, Bop Art Orchestra, stb.).
Ittzés Gergely 1996 óta a győri Széchenyi István Egyetem Zeneművészeti Intézetének tanára egyetemi tanári rangban. Habilitációjára 2007-ben került sor.
Eddig több, mint 10 CD lemeze jelent meg. Felvételt készített továbbá Perényi Miklóssal, Rácz Zoltánnal, Magdalena Koženával és másokkal.
Ittzés Gergely Sankyo (www.sankyoflute.com) Pure Silver fuvolán játszik.
