Update Title: 72E39CFE-076C-4FA0-A3A8-3D1F4788AC1B

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Benoit Tranquille Berbiguier (1782-1838) was a renowned French flutist. Clearly a man who loved the instrument, his "Nouvelle Methode Pour la Flute", nearly 300 pages long,  is a virtual encyclopedia of flute playing and contains fingering diagrams, explanation of Italian musical terms, trill and ornament charts, advice on how to practice, and numerous studies and musical examples designed to build technique. Also included are the 18 Studies which we present here. Among his most often-played pieces, they are recognized for their musical as well as pedagogical value, and are an important part of any flutist's training.

The idea of creating a second flute part has its foundation in the teachings of the great French flutist Marcel Moyse (a pivotal mentor to Professor Wincenc). In lessons, Moyse would accompany the student on his own instrument, and often vocally improvise melodies and/or lyrics. In adding his second line, Moyse was able to underscore the harmonic, melodic, rhythmic structure and shape of the lines in a way which went far beyond any possible verbal explanation. This way, the student learned about rhythmic stability, phrasing, intonation, and quality of sound by playing with the master.

After an initial play through of the first few etudes, we were puzzled by the significant discrepancies between the various editions of the work.  Differences in dynamics, notes, and even the length of etudes left us unsure of how to arrive at an authoritative edition. Through the generosity of the  New York Public Library for the Performing Arts, we were able to consult an original edition of the Method, housed in its Special Collection. Thus we were able to solve the mystery of the various editions, and arrive at an edition which keeps most closely with Berbiguier's original text.

We hope that by offering a second flute part, students and teachers will get even more out of Berbiguier's studies. The student will be required to listen closely to intonation and quality of sound to match that of his/her teacher, and will develop not only the skills required of a good flutist, but of a good chamber musician and collaborator.

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