145:“Musical and historical authenticity are not always identical, nor are the disciplines of musicology and performance the same. If a musical repertoire is worth playing for its own sake—for its musical truth, rather than merely for its historical significance or quaintness—then it must of necessity be as modern today as when it was newly-composed. It transcends temporal considerations; it exists outside of time and place. . . . Let me emphasize that I am not advocating the abandonment of historically correct instruments. Rather, I am calling attention to the need for a more humanistic stance—one in keeping with the spirit of the old masters. Despite the dangers of such ideological relaxation, especially in an age such as this, there is really no other valid alternative. Either we are practitioners of a living art, or we are museum curators and morticians. I do not think that a mausoleum is an appropriate setting for our musical heritage. Only those who remain unmoved by this heritage could dare to advocate its embalmment in the formaldehyde of historical fundamentalism—and they do not deserve to be hailed as its guardians.”
227:, as well as to judge music according to extra-musical, and therefore spurious, criteria. He reasoned further that music must be governed by what he considered the limitations and characteristics inherent in the human psyche and in the overtone series, and that the objective materialistic criteria of science and technology, and of modern materialism in general, were essentially inapplicable to the theory and practice of music as an art. He espouses what he holds to be a more intuitive, subjective approach, more akin to the religious world view of the old masters than to the empirical objectivity of modern science and technology. At the same time, he rejects what he considers the relativistic stance of post-modernism that holds all beliefs to be both arbitrary and equally acceptable. Although some of his compositions fall under the rubric of “musical historicism,” in that they utilize older musical languages and could even be mistaken for works written hundreds of years ago, Waitzman believes that most of his output displays a willingness to go beyond the boundaries of purely
220:“So much has been discovered that it may no longer be possible to discover fundamentally new ways of organizing sound without transgressing beyond the boundaries of musical affect, as dictated by the human psyche, the human ear, and the very laws of acoustics themselves—which boundaries are as narrow as the prerequisites for the survival of life itself. This fact—if indeed it be a fact—demands a radically new approach to the concept of musical obsolescence. I believe that if a musical language remain powerful enough to move modern listeners, then it must by definition remain eligible for use in contemporary composition.”
217:, Waitzman turned his attention to the composition of new music in 1992, in the belief that a revival of what he considered the aesthetic ideals and highly affective approach of the old masters was long overdue. He claimed that the current state of contemporary music reflected “a deep-seated pathology that has afflicted Western music for well over a century—a bellwether as well as a cause of the decline of the West.” He asserted that if older styles could still move modern musicians and audiences, then they must, by definition, be acceptable for use as a basis for newly composed music:
122:’s Organ Trio Sonatas for bell-keyed recorder and harpsichord, and also arranged J.S. Bach’s E Major Violin Concerto for bell-keyed recorder and strings. It was around this time that he became dissatisfied with the early music movement’s philosophical approach to the performance of the older repertoire, and also with the limitations of the one-keyed “Baroque” flute. Later, he published several critiques of the modern
174:
By 1976 Waitzman became convinced that it was possible to play the modern flute in a manner consistent with the aesthetic requirements of the older repertoire, using a type of embouchure very close to that of Boehm, the original inventor of the modern flute. He established himself as a performer on
201:
a codification of the technique of both bell-keyed and keyless recorders. He had tried to convince recorder makers to offer a series of bell-keyed recorders expressly designed to take advantage of the bell key, and had suggested that they undertake the development of a modernized recorder; and
202:
their failure to do so caused him to turn more and more to the Boehm flute, in both their conically and cylindrically bored forms, as his primary instrument. In 1980, he was awarded an
International Bach Society Performance Award. In 1987, he received a
427:
Sweet Pipes: Five
Centuries of Recorder Music—Bernard Krainis with the Krainis Consort and Baroque Ensemble, Columbia Masterworks Stereo—MS 6475 (1962). (includes Waitzman's performance on Baroque Flute.)
370:
Four Songs to Poems by
Nicholas Kalkines Andrian, for Soprano or Countertenor and Pianoforte or Harpsichord, by Daniel Waitzman. Dedicated to Nicholas Kalkines Andrian and Joyce Pytkowicz (2007).
167:
In 1973–74, Waitzman persuaded the brothers
Bickford and Robert Brannen to revive the manufacture of conical Boehm flutes. This project led to the establishment of the flute-making firm of
245:
that takes into account the post-Enlightenment experience, while at the same time attempting to preserve and integrate the fundamental aesthetic and spiritual precepts of the old masters.
376:
Quartet in Bâ™ Major for Flute or Violin, Viola, Pianoforte, Fortepiano, or
Harpsichord, and Violoncello (2008). Dedicated to Doris Konig, artistic director of The Omega Ensemble.
862:
101:
Waitzman's professional career began in 1959, when he made the first of several recordings with his teacher, Bernard
Krainis, at the age of 15. In 1962, he recorded a
434:
Franz Danzi: Flute
Quartet in D Minor, Op. 56, No. 2; Flute Trio in G Mahor, Op. 71, No. 1--The Waitzman Flute Quartet, Musical Heritage Society, MHS 4687T (1982).
186:.” He has served as soloist and chamber musician on flutes and recorders with The Long Island Baroque Ensemble since 1974, and performed several concerts with the
118:(originally invented by Carl Dolmetsch) fitted to his recorder; and he began to develop a new technique for playing the bell-keyed recorder. He arranged three of
431:
Eighteenth-Century Flute Music (On
Historic Instruments), Musical Heritage Society, MHS 1860 (1974). (Conical Boehm Flute, Baroque Flute, Bell-keyed Recorder.)
545:
182:
Piccolo
Recorder concerti with Amor Artis at Alice Tully Hall. The New York Times reviewer Raymond Ericson called his performance of the A Minor Concerto “
446:
J.S. Bach, The Coffee
Cantata: Cantatas 211, 158, and Motets—Amor Artis Chorale and Baroque Orchestra, Lyrachord Early Music Series, LEMS 8939 (1999).
382:
Concerto in D Minor for Harpsichord, Fortepiano, or Pianoforte, 2 Violins, Viola, Violoncello, and Contrabass, dedicated to Gerald Ranck (2009).
409:
Sonata in G Major for Flute (or Violin) and Fortepiano, Harpsichord, or Pianoforte, In One Movement. In Memoriam Sonia Gezairlian Grib (2018).
852:
857:
385:
Sonata in G Major for Violin or Oboe, and Harpsichord, Fortepiano, or Pianoforte (1994, 2009). Also published as a Bâ™ Major Flute Sonata.
654:
Vol. XXI, No. 1, May 1980, pp. 10-11. Also quoted in Geoffrey Burgess, Well-Tempered Woodwinds, Indiana University Press, 2015, p. 128.
350:"The day is gone, and all its sweets are gone!" text by John Keats, for Soprano and Fortepiano, Pianoforte, or Harpsichord (1998–2001).
335:
Canzona in D Major for 2 Flutes, Oboes, Violins, Cornetti, or Other Instruments, and Basso Continuo, by Daniel Robert Waitzman (1996).
49:
Born in Rochester, New York, Waitzman grew up in New York City, where he graduated from the High School of Music and Art in 1961. At
847:
397:
Trio Sonata Movement in C Major for Flute or Violin, Violin, Viola, or Viola d’Amore, or Basso Continuo or Violoncello Solo (2014).
148:
In 1971, Waitzman acquired an antique conical Boehm flute built ca. 1875 by Louis Lot. That same year, he made his formal début in
156:
Award, at which he performed on recorder, Baroque flute, and conical Boehm flute. Waitzman has taught flute and recorder at
424:
The Festive Pipes, Volume 2: Eight Centuries of Music for Recorders—Krainis Recorder Consort, Kapp Records KCL-9049 (1960).
131:
391:
Canzona in D-Dorian Minor (in the Learned Style), with a Finalis on G, for 2 Treble Instruments and Basso Continuo (2013).
183:
108:
with Krainis and lutenist Joseph Iodine on the Baroque one-keyed flute. This performance appeared on a recording entitled
449:
Jean-Philippe Rameau: Pièces de Clavecin in Concerts (1741)--The Queens Chamber Band, Lyrachord Discs, LEMS 8040 (1999).
443:
Viva Italia: Monteverdi, Brioschi, Handel, Gorzanis, J.C. Bach, Dowland—The Queen's Chamber Band, 4Tay, CD 4011 (1998).
353:
Grand Sonata in A Major for Flute and obbligato Fortepiano, Harpsichord, or Pianoforte, In Memoriam Samuel Baron (1998).
344:
Trio Sonata in B Major for Flute or Violin, Oboe d’Amore or Violin, and Basso Continuo, In Memoriam Samuel Baron (1997).
421:
The Festive Pipes: Five Centuries of Dance Music for Recorders—Krainis Recorder Consort, Kapp Records KCL-9034 (1959).
379:
Symphony in F Major for 2 Violins, Viola, Violoncello, Contrabass, and Harpsichord, Dedicated to Gerald Ranck (2008).
842:
178:
Waitzman has toured the United States and Canada as soloist and chamber musician. In 1976, he performed several of
356:
Trio in B Major for 2 Violins (or Violin or Oboe, and Viola or Viola d'Amore), and Violoncello or Basso Continuo,
867:
347:
Pavan in G Minor for 2 Violins, Viola, and Violoncello, or Other Instruments, in memoriam Bernard Krainis (2006).
203:
541:
437:
Scott Joplin, The Entertainer: Rags, Marches, and Waltzes—Trio Bell'Arte, Premier Recordings, PRCD 1043 (1995).
403:
Sonata in Bb for Flute or Violin and Fortepiano, Harpsichord, or Pianoforte (2016), in memoriam Gerald B. Ranck.
400:
Trio Sonata in A Major for Flute or Violin, Viola d’Amore or Viola, and Bass or optional Basso Continuo (2014).
373:
Sonata in D Minor for Viola and Pianoforte, Fortepiano, or Harpsichord. (2008), dedicated to Louise Schulman.
58:
440:
J.C.F. Bach (The Bückeburg Bach): Trios and Sonatas—Trio Bell'Arte, Premier Recordings, PRCD 1051 (1996).
115:
837:
50:
412:
Fantasia in G Major for Fortepiano, Harpsichord, Pianoforte, Clavichord, or TangentenflĂĽgel. (2018.)
17:
479:
832:
153:
149:
142:
in 1980, Waitzman had called for a more flexible approach to the performance of early music:
66:
213:
After pondering the current state of contemporary music, and the history of music since the
827:
214:
157:
338:
Quartet in D Minor for 2 Violins, Viola, and Violoncello, in memoriam Otto Luening (1997).
8:
228:
123:
320:
Organ Trio Sonata in C Minor, Dedicated to Samuel Baron, co-composer of BWV 1032 (1993).
57:. He received his M.A. in musicology from Columbia University in 1968. Waitzman studied
161:
82:
77:
with Samuel Baron, Harold Bennett, and Harry Moskovitz. He studied composition with
672:
388:
Sonata in G Major for Violoncello and Fortepiano, Pianoforte, or Harpsichord (2010).
223:
To believe otherwise, in his view, was to deny the what he called the almost purely
363:
Canzona in E Major for 2 Violins, or other treble instruments, and Basso Continuo,
207:
168:
613:
Up from Authenticity, or How I Learned to Love the Metal Flute--A Personal Memoir
575:
Up from Authenticity, or How I Learned to Love the Metal Flute—A Personal Memoir,
549:
329:
Sonata in Eâ™ Major for Flute and Harpsichord or Fortepiano, or Pianoforte (1995).
302:
Up from Authenticity, or How I Learned to Love the Metal Flute—A Personal Memoir,
224:
187:
179:
128:
Up from Authenticity, or How I Learned to Love the Metal Flute—A Personal Memoir.
90:
62:
406:
Sonata in F Major for Clavichord, Fortepiano, Harpsichord, or Pianoforte (2017).
317:
Sonata in D Minor for Flute and Harpsichord or Fortepiano, or Pianoforte (1994).
314:
Sonata in G Major for Flute and Harpsichord or Fortepiano, or Pianoforte (1993).
175:
modern flute, and gave numerous recitals illustrating the history of the flute.
750:
Daniel Waitzman, "A Plan to Promote the Development of a Modernized Recorder,"
650:
Daniel Waitzman, “Historical Versus Musical Authenticity: A Performer’s View,”
238:
237:
framework, of elements from a variety of styles, including seventeenth-century
70:
821:
634:
542:
https://www.discogs.com/Bernard-Krainis-The-Virtuoso-Recorder/release/1621112
86:
394:
Quartet in D Major for Flute, 2 Violins, Viola, and Violoncello (2011,2015).
130:
The original essay on which this book was based served as the subject for a
233:
78:
194:
Concerto for Recorder and Flute (with his teacher, flutist Samuel Baron).
102:
332:
Canzona in G Major for Flute, Violin or Oboe, and Basso Continuo (1996).
611:
242:
341:
Fantasia in D Major for Harpsichord, Fortepiano, or Pianoforte (1997).
119:
81:, harmony and counterpoint with Charles Walton, Genevieve Chinn, and
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38:
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Solo Recitalist Fellowship Grant to give a recital in New York's
105:
281:"A Plan to Promote the Development of a Modernized Recorder,"
74:
54:
34:
706:
Raymond Ericson, “Amor Artis Presents Vivaldi With Verve,”
641:
Sunday, July 22, 1990, Arts and Leisure (Sec. 2), pp. 1 ff.
294:“Historical vs. Musical Authenticity: A Performer’s View,”
308:
262:
The Decline of the Recorder in the Eighteenth Century,
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Columbia Graduate School of Arts and Sciences alumni
254:“The Decline of the Recorder in the 18th Century,”
248:
274:“The Requirements of a good Bell-Keyed Recorder,”
673:http://www.concertartists.org/competition-winners
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465:Mona Good, “An Interview with Daniel Waitzman,”
675:. Retrieved May 1, 2017. See also Nagle, p. 48.
593:
591:
589:
587:
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583:
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258:Vol. VIII, No. 2, Spring 1967, pp. 47–51.
285:Vol. XII, No. 3, August 1971, pp. 71–72.
278:Vol. XII, No. 2, Spring 1971, pp. 39–40.
528:Sigrid Nagle, “Daniel Waitzman: A Profile,"
231:, through the integration, usually within a
580:
517:
44:
298:Vol. XXI, No. 1, May 1980, pp. 11–13.
271:Vol. IX, No. 1, Winter 1968, pp. 3–6.
27:American flutist and composer (born 1943)
754:Vol. XII, No. 3, August 1971, pp. 71-72.
264:Columbia University Masters Essay, 1968.
637:, "Flexibility Can Be Authentic, Too,"
326:Organ Trio Sonata in C Major (1994–95).
14:
820:
510:
508:
416:
853:21st-century American male musicians
480:"Bookshelf | Columbia College Today"
469:Vol. XIV, No. 1, Winter 1989, p. 48.
323:Organ Trio Sonata in F Major (1993).
309:Partial list of musical compositions
138:in 1990. In an article published in
33:(born July 15, 1943) is an American
577:Amazon Kindle Book, 2012, loc. 324.
505:
24:
858:Columbia College (New York) alumni
25:
879:
684:Brannen Brothers catalogue, 1974.
560:Daniel Waitzman, “The Bell Key,”
730:The Art of Playing the Recorder,
719:Personal interview, May 3, 2017.
532:Vol. 16, No. 2, May 1974, p. 48.
289:The Art of Playing the Recorder,
249:Partial list of books and essays
199:The Art of Playing the Recorder,
848:21st-century American composers
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204:National Endowment for the Arts
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225:Platonic nature of musical art
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1:
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291:New York: A.M.S. Press, 1978.
73:and Paul Ehrlich, and modern
197:In 1978, Waitzman published
126:, including a book entitled
7:
624:– via www.amazon.com.
241:and harmonic usages, and a
184:nothing short of miraculous
53:(B.A. 1965), he majored in
10:
884:
732:New York, AMS Press, 1978.
360:Charles M. Walton (2004).
304:Amazon Kindle Book, 2012.
96:
564:Vol. IX, No. 1, pp. 3-4.
484:www.college.columbia.edu
114:In 1965, Waitzman had a
45:Early life and education
843:American male composers
693:Good, p. 53; Waitzman,
229:historicist composition
868:21st-century flautists
752:The American Recorder,
652:The American Recorder,
562:The American Recorder,
530:The American Recorder,
467:The Flutist Quarterly,
296:The American Recorder,
283:The American Recorder,
276:The American Recorder,
269:The American Recorder,
256:The American Recorder,
110:The Virtuoso Recorder.
89:, and musicology with
31:Daniel Robert Waitzman
783:Up from Authenticity,
695:Up From Authenticity,
367:Betty Krainis (2006).
154:Concert Artists Guild
150:Carnegie Recital Hall
140:The American Recorder
85:, orchestration with
809:Up from Authenticity
796:Up from Authenticity
599:Up from Authenticity
573:Daniel R. Waitzman,
158:Queens College, CUNY
124:early music movement
708:The New York Times,
639:The New York Times,
417:Partial discography
152:as a winner of the
838:American flautists
763:Burgess, pp. x-xi.
710:December 23, 1976.
616:. 16 November 2012
548:2019-06-12 at the
162:Hofstra University
136:The New York Times
728:Daniel Waitzman,
83:Peter Westergaard
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51:Columbia College
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63:Bernard Krainis
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811:, loc. 1085.
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79:Otto Luening
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828:1943 births
365:In Memoriam
358:In Memoriam
103:Frescobaldi
822:Categories
807:Waitzman,
794:Waitzman,
785:loc. 1161.
781:Waitzman,
597:Waitzman,
489:2022-06-15
453:References
243:world view
160:, and at
697:loc. 456.
180:Vivaldi's
120:J.S. Bach
546:Archived
192:Telemann
116:bell key
59:recorder
39:composer
18:Waitzman
106:Canzona
35:flutist
620:May 1,
234:galant
97:Career
502:Good.
75:flute
69:with
61:with
55:Music
622:2017
37:and
134:in
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519:^
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93:.
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20:)
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