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An introduction to the research of metropolitan museum of art

Franz Schubert 1797-1828 The next paragraphs describe the flutes, my response to them, and the literature we chose for this project.

  1. They were awesome very nice and enjoyable to work with and did an excellent job! Metropolitan Museum of Art essays During my trip to the Metropolitan Museum of Free metropolitan museum Essays and Papers - Contemporary artist El Anatsui draws upon diverse sources of information and inspiration to create his art.
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  3. They also gave me a free bottle of spot remover! Partnerships enhance the discoverability and searchability of the Museum's collection , while creating opportunities to foster deeper connections.
  4. Our association with these instruments was stimulated by National Endowment for the Arts Solo Recitalist Fellowships we each received in 1992 to promote our careers as a Duo specializing in early 19th-century salon music performance on period instruments.
  5. Our association with these instruments was stimulated by National Endowment for the Arts Solo Recitalist Fellowships we each received in 1992 to promote our careers as a Duo specializing in early 19th-century salon music performance on period instruments. We clean carpets in Salt Lake City, Kaysville, Ogden and the surrounding areas with expert precision and state of the art tools and equipment.

The text is taken from the liner notes from the compact disc recording Crystal To Gold: Our association with these instruments was stimulated by National Endowment for the Arts Solo Recitalist Fellowships we each received in 1992 to promote our careers as a Duo specializing in early 19th-century salon music performance on period instruments.

We arranged with Laurence Libin, curator-in-charge of the Department of Musical Instruments at The Metropolitan Museum, to spend a week at the museum in 1993 selecting instruments for use in performance at the museum.

We selected instruments based on the reputation of the maker, playability, physical beauty, and above all on their sound quality and beauty of tone. Prior to our performance for patrons of the museum in May of 1994 we again spent a week at the museum acclimating ourselves to the unique demands of each instrument.

Following our 1994 performance Laurence Libin suggested that a recording on the instruments would make a wonderful project. The opportunity to capture the sound of each of these rare instruments so that future generations of museum goers could appreciate their true voices, in addition to their visual beauty, was extremely appealing to us.

In 1996 we initiated a collaboration between The Metropolitan Museum of Art and the Cedar Rapids Museum of Art to bring the instruments to Cedar Rapids, Iowa between January and June of 1998 to allow sufficient time with the instruments to prepare this disc.

Staff members at both museums put in tremendous effort to repair, transport, and care for the instruments so that we could make our visits to the Cedar Rapids Museum of Art to practice, perform and ultimately record this disc. We hope that with careful listening you will become familiar with and appreciative of the sound quality of each individual flute and guitar as we did in the magical six months we spent with these precious art objects.

New York, 19th century. One square brass key. Gift of Robert Alonzo Lehman, 1991.

My visit to the metropolitan museum of art essay introduction

Crystal flute by Claude Laurent, Paris, 1813. Four fluted glass sections, blue glass cap, brass rings, 4 keys. Crystal flute by Claude Laurent, Paris, 1815. Four fluted glass sections, blue glass cap, silver rings. John Manuel Agramonte, in memory of her husband, 1916. As a player, I found it advisable to stay in keys using 1-3 sharps, as some notes especially f-natural are remarkably out of tune. This one-keyed flute was well-suited to lighter tuneful music. The Stephen Foster songs seemed a good choice.

York; this workshop was active from 1833-1847.

The Laurent crystal flutes generated a great deal of public curiosity during this project. Concert-goers wanted to see how the flutes looked and sounded. These flutes settled in best at circa A-420. The flutes are a bit heavy to hold and play for a long time. Additionally, the player must manipulate the embouchure and air-stream a great deal to tune the intervals.

  1. Franz Schubert 1797-1828 The next paragraphs describe the flutes, my response to them, and the literature we chose for this project. My visit to the metropolitan museum of art essay introduction 20-Sep-2018 21.
  2. They were awesome very nice and enjoyable to work with and did an excellent job!
  3. The 1815 flute has rings and keys of silver; the 1813 flute, of brass. The key-work is artful and fits the hands beautifully, allowing for fluid playing of quick slurred passages over the full range of the flute.
  4. The technician was very helpful and friendly!

The sound is much bolder than I expected and the flutes project a distinctive, colorful tone. They are also remarkably flexible.

This recording marks the first time that two crystal flutes have appear together on a compact disc recording. The Haydn Flute Clock pieces suited the crystal flutes well. Both crystal flutes are by the French maker, Claude Laurent d. He exhibited at additional festivals including the 1834 festival where it was said he was working at making his flute less heavy. The Laurent flutes on this recording are four-keyed instruments dated 1813 and 1815 Laurent also made flutes with eight and nine keys.

The lowest note is d-natural. Each flute features four fluted glass sections, five rings, and a blue glass cap. The 1815 flute has rings and keys of silver; the 1813 flute, of brass.

The Tulou flute on this recording is an exquisite instrument to view, to play, and to hear. The key-work is artful and fits the hands beautifully, allowing for fluid playing of quick slurred passages over the full range of the flute.

Of the flutes on this recording, the Tulou flute is my flute of choice. The tone is somewhat small, but voice-like and expressive. The Tulou flute in this recording is of grenadilla wood with four sections. The key work is of gold.

It has been dated c.

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It seemed happy to play at A-440. Jean Louis Tulou began manufacturing flutes in Paris in 1828. In 1831 he formed partnership with Jacques Nonon that lasted 22 years, until 1853.