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Anders Ljungar-Chapelon

Prof. Dr. in flute and research

Prof. Dr. ANDERS LJUNGAR-CHAPELON is professor in flute and researcher at the Malmö Academy of Music/Lund University, Sweden, and Professor in Flute and researcher (Personal Chair) at the Royal Northern College of Music in Manchester (RNCM), England.

For many years resident in Germany and France he was active as an orchestra principal flautist. His musical and pedagogical activities are versatile. As a soloist and orchestra player he gives numerous concerts and recitals throughout Europe, Asia, Australia, the Americas and the Pacific, and appears on radio and television, performs regularly as a soloist at international music and flute festivals.

Many of his interpretations are available on compact disc, encompassing music by Bach, Blavet, Mozart, Telemann, Vivaldi, rediscovered works by Swedish composers from 18th and 19th Centuries, music from the 20th century with Arnold Schoenberg’s Sonata Opus 26, not previously recorded, and Chitra by Pierre-Yves Artaud for Basse de Traversière and backtrack. At the moment he is recording a CD with 20th Century classics for solo flute with works by Debussy, Varèse, Jolivet, Berio, Ferneyhough and Takemitsu. His repertoire also includes a great number of works dedicated to him.

Concerning teaching he is a sought-after professor and lecturer at universities and music academies such as the Paris National Conservatoire (he is the first Scandinavian flautist ever invited to teach at the Paris national conservatory since it's foundation in 1795), Staatliche Musikhochschule Wien (Austria), National University of Brasilia (Brazil), International Summer Academy in Nice (France), Oxford Flute Summer School (England), Grieg Academy in Bergen (Norway), International Summer Academy of ISA (Austria), Elder School of Music/University of South Australia (Adelaide, Australia), and further in Europe, the Americas, Asia, Australia, New Zeeland and Greenland.

Prof. Dr. LJUNGAR-CHAPELON is a researcher and supervisor (Master and Phd) within music education of the professional musician and artistic research. His research is based on hermeneutics from methodological and philosophical perspectives, together with writings by Plato, Aristotle, Chladenius, Schleiermacher, Dilthey, Heidegger and Gadamer. Some examples of his research is about Swedish flute music from the 18th and 19th centuries, Schoenberg’s twelve- tone technique, French early 18th century music, Debussy's Syrinx for flute and its connection to theatre, and investigations into new fields of flute acoustics. He has written a doctoral thesis (PhD) about the French art of flute playing, its tradition, learning, craftsmanship and aesthetics in a hermeneutical perspective covering the period from 1707 to the very late 20th Century.

His research has been presented at international conferences such as ISME in Pretoria (South Africa), Beijing (China), Thessaloniki (Greece), EAS in Leuven (Belgium), further in Australia, Brazil, England, Finland, Norway, Spain and Sweden. Further he works within fields dealing with European 18th century transverse flutes and modern flutes in cross cultural combination with non-European instrument such as the Korean kayagum. His pedagogical interests have also been directed towards the Suzuki method and its adoption for flute, and he holds certificates as a Suzuki flute teacher.

Prof. Dr. LJUNGAR-CHAPELON further develops teaching materials and writes articles in the specialist press. He edits historic musical manuscripts published by the editions Flöjtistens Vademecum (Lund University Press), Autographus Musicus (Stockholm), in the series The Swedish
Transverse Flute and Flautissimo, where his edition of Debussy’s Syrinx has been internationally acknowledged. Universal Edition has also published his Syrinx research in their prestigious series of Wiener Urtext Editions.

His broad approach to music has made him an authority on 18th and 19th century flutes in theory and practice, including a reconstruction of Hotteterre’s Basse de Traversière. Since some years he designs flutes in Beijing (China) for among others the flute factory TAMINO FLUTES.

The languages he uses in his teaching and lectures are, besides Swedish, French, German and English.

He received his musical education in Gothenburg (Gérard Schaub), Copenhagen (Ørnulf Gullbransen), Cologne (Amadeus Quartet) and Paris (Alain Marion). Close contact with flautist and professor Alain Marion in Paris was especially fruitful, as was the chamber music studies with the Amadeus Quartet in Cologne.

Prof. Dr. LJUNGAR-CHAPELON performs on golden flutes made especially for him by SANKYO in Japan, and traverso flutes made by Alain Weemaels in Brussels, Belgium.

Publikationer

THE FLAUTISTS VADEMECUM
Vade mecum is Latin for go with me, and derives from the Latin verb vadere, meaning to go, and has been used as a name for handbooks of different crafts all over Europe since at least the beginning of the 17th Century.

  • Atys. Six Sonates en Duo, Travaillés pour Six Instruments differens, Flûte, Haut-Bois, Pardessus de Viole à cinq Cordes sans aucun démanchement, Violon, Basson, et Violoncelle; en observant la Clef de Fa, qui est posée sur la 4e ligne Avec des Signes pour diminuer et augmenter les sons par degrees, dans les endroits neccessaires. Œuvre IV, 1760. (Facsimile)

  •  Atys. Clef facile et methodique, pour apprendre en peu de tems à battre la lesure, a distinguer les modulations, à préluder, et à phraser la musique par le moyen de la ponctuation grammaticale et typhographique. Œuvre V, 1763.
    With an essay by Dr. Stephen Preston: The Alliance of Music, Poetry and Oratory. (Facsimile) 

  • Johann Sebastian Bach. Fantasia Chromatica BWV 903, transcribed for flute alone by Christian Gottlieb Belcke c.1830. (Facsimile)

  • Johan van Boom. Grande Fantasie, pour Piano et Flûte, ou Violon, sur des motifs de l’Opera, les mystires d’Isis, de Mozart (Die Zauberflöte). Opus 31, c.1850. (Facsimile)

  • [Charles] De Lusse. On Harmoniques, Quart-de-Tons et Tremblement flexible, c.1760. Exercises for harmonics, quartertones and micro intervals for the Traverso and Boehm flute by Anders Ljungar-Chapelon

  • Louis Drouët. Trois Grands Duos Concertants pour deux Flûtes ou Etudes pour la Respiration, l’Articulation et la manière de phraser Œuvre 204, c.1850

  • Christos Ntovas. Morfes for flute and piano.
    Morceau de Concours for the flute class 2014

  • Alessandro Perini. Assembling Machines for flute and prepared piano.
    Morceau de Concours for the flute class 2013

  • Jonatan Sersam. Fluttuante for flute and piano.
    Morceau de Concours for the flute class 2015

  • Jonatan Sersam. Sånger for bass flute and viola, 2016

  • Rudolf Sulzenbacher. Opus-French Suite pour flûte basse (ou flûte normale) et clavecin ou guitare 2015

  • Rudolf Sulzenbacher. La Mort de Pan pour flûte et acteur, 2016
    Bis de Concert pour flûte en sol ou en ut et clavecin ou harpe, cette pièce peut également être jouée solo, 2016

  • Simon Söfelde. Gycklarmusik 11-14, Joker Music, for solo flute.
    Morceau de Concours for the flute class 2016

  • Gustaf Widegren. Texter och Övningar. Band 1, 1866-1873. (Facsimile)

  • Gustaf Widegren. Texter, Grepptabeller och Övningar. Band 2, 1872-1885. (Facsimile)
    With an essay by Dr. Stephen Preston: Culminations, transitions and continuities: Key virtuoso flutists in the early 19th century.  

Soon available:

  • Laura Netzel. Musique pour flûte et piano: Suite Opus 33 (c.1895), Berceuse Opus 69 (1900), Colibri Opus 72 (1912). (Facsimile)

  • Caspar Kummer. Der einfache und besonders der Doppel-Zungenstoß bei dem Flötenspiel durch instructive Notenbeispiele mit

Publications

Anders Ljungar Chapelon
E-mail: anders [dot] ljungar-chapelon [at] mhm [dot] lu [dot] se