Soliloquy - Greg Dikmans (traverso)
Date
Saturday 9th January, 9.00PM
Venue
St John’s Ballarat
Duration
60 minutes
As the day draws to a close, gather by candlelight for an intimate musical encounter with Greg Dikmans and the traverso, the eighteenth-century transverse flute.
In the warm, after-dinner atmosphere of St John’s Church, Dikmans explores music that speaks directly to the passions of the soul — from the tender longing of Couperin’s Le Rossignol-en-amour to the expressive depth of Bach, Telemann and C. P. E. Bach, concluding with Mozart’s poignant Ach, ich fühl’s from The Magic Flute, specially arranged for solo flute.
For eighteenth-century musicians, music was not simply something to hear: it was an art of persuasion, capable of stirring, calming and transforming the emotions. In this intimate programme, five great composers reveal the extraordinary expressive possibilities of a single instrument.
Come after supper, settle into the candlelit glow, and let the music take you on a journey through the passions of the soul. Port will be available for purchase..
In the warm, after-dinner atmosphere of St John’s Church, Dikmans explores music that speaks directly to the passions of the soul — from the tender longing of Couperin’s Le Rossignol-en-amour to the expressive depth of Bach, Telemann and C. P. E. Bach, concluding with Mozart’s poignant Ach, ich fühl’s from The Magic Flute, specially arranged for solo flute.
For eighteenth-century musicians, music was not simply something to hear: it was an art of persuasion, capable of stirring, calming and transforming the emotions. In this intimate programme, five great composers reveal the extraordinary expressive possibilities of a single instrument.
Come after supper, settle into the candlelit glow, and let the music take you on a journey through the passions of the soul. Port will be available for purchase..
Artists
Greg Dikmans – traverso, eighteenth-century transverse flute
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Greg Dikmans (dikmans.net) is an internationally recognised scholar-performer of 18th-century music whose recordings have received critical acclaim in publications including Early Music and Gramophone. As an advocate of historically enlightened performance (HEP), he plays historical flutes and is artistic director of the Elysium Ensemble (elysiumensemble.com).
After receiving a Bachelor of Music, Greg pursued postgraduate studies in Belgium and the Netherlands from 1983–84 with the assistance of a Churchill Fellowship and an Australia Council Grant. He was awarded the Diploma in Baroque Flute with First Prize by the Royal Conservatorium in Brussels, where his teacher was Barthold Kuijken.
Greg’s MA research examined the performance practice of 18th-century French flute music and included his translation of Jacques Hotteterre’s Principles of the Transverse Flute (1707). A central concern of his research is the relationship between rhetoric and musical performance. His work seeks to recover the expressive, rhetorical and communicative dimensions of 18th-century music.
Greg has taught continuously at the University of Melbourne, and at other tertiary institutions, since 1985.
In recent years Greg has focused on a reappraisal of three of the most influential 18th-century treatises on musical performance written by Johann Joachim Quantz, Carl Philipp Emanuel Bach and Leopold Mozart. This research informs his recordings of works by Quantz, J. S. Bach, C. P. E. Bach and G. Ph. Telemann, and his websites devoted to historical performance.
After receiving a Bachelor of Music, Greg pursued postgraduate studies in Belgium and the Netherlands from 1983–84 with the assistance of a Churchill Fellowship and an Australia Council Grant. He was awarded the Diploma in Baroque Flute with First Prize by the Royal Conservatorium in Brussels, where his teacher was Barthold Kuijken.
Greg’s MA research examined the performance practice of 18th-century French flute music and included his translation of Jacques Hotteterre’s Principles of the Transverse Flute (1707). A central concern of his research is the relationship between rhetoric and musical performance. His work seeks to recover the expressive, rhetorical and communicative dimensions of 18th-century music.
Greg has taught continuously at the University of Melbourne, and at other tertiary institutions, since 1985.
In recent years Greg has focused on a reappraisal of three of the most influential 18th-century treatises on musical performance written by Johann Joachim Quantz, Carl Philipp Emanuel Bach and Leopold Mozart. This research informs his recordings of works by Quantz, J. S. Bach, C. P. E. Bach and G. Ph. Telemann, and his websites devoted to historical performance.
