A selection of flutes from around the world

The flute is a musical instrument of the woodwind family. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening. According to the instrument classification of Hornbostel-Sachs, flutes are categorized as edge-blown aerophones.

A musician who plays the flute can be referred to as a flute player, a flautist, a flutist, or less commonly a fluter.

Aside from the voice, flutes are the earliest known musical instruments. A number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Alb region of Germany. These flutes demonstrate that a developed musical tradition existed from the earliest period of modern human presence in Europe.^[1][2]

Etymology[link]

The word flute first entered the English language during the Middle English period, as floute,^[3], or else flowte, flo(y)te,^[4] possibly from Old French flaute and from Old Provençal flaüt,^[5]or else from Old French fleüte, flaüte, flahute via Middle High German floite or Danish fluit. Attempts to trace the word back to a Latin root have been pronounced "phonologically impossible" or "inadmissable".^[6] The first known use of the word flute was in the 14th century.^[7] According to the Oxford English Dictionary, this was in Geoffrey Chaucer's The Hous of Fame, ca. 1384.^[8]

History[link]

Chinese women playing flutes, from the 12th-century Song Dynasty remake of the Night Revels of Han Xizai, originally by Gu Hongzhong (10th century)

The oldest flute ever discovered may be a fragment of the femur of a juvenile cave bear, with two to four holes, found at Divje Babe in Slovenia and dated to about 43,000 years ago. However, this has been disputed.^[9][10] In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, Germany.^[11] The five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the discovery officially published their findings in the journal Nature, in August 2009.^[12] The discovery was also the oldest confirmed find of any musical instrument in history^[13], until a redating of flutes found in Geißenklösterle cave revealed them to be even older with an age of 42.000 to 43.000 years.^[2] The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels and a short distance from the oldest known human carving.^[14] On announcing the discovery, scientists suggested that the "finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe".^[15] Scientists have also suggested that the discovery of the flute may help to explain "the probable behavioural and cognitive gulf between" Neanderthals and early modern human.^[13]

A three-holed flute, 18.7 cm long, made from a mammoth tusk (from the Geißenklösterle cave, near Ulm, in the southern German Swabian Alb and dated to 30,000 to 37,000 years ago)^[16] was discovered in 2004, and two flutes made from swan bones excavated a decade earlier (from the same cave in Germany, dated to circa 36,000 years ago) are among the oldest known musical instruments.

Panflute players. Cantigas de Santa Maria, mid-13th century, Spain

The image captures the elements of the verse and arranges them in tidy registers around the fluting Krishna, with gods riding on boatlike vessels above, ascetics seated to the right, and women in conversation at the left. Such compartmentalization is often used in early Central Indian painting to depict multiple spaces or scenes on a single flat

A playable 9000-year-old Gudi (literally, "bone flute") was excavated from a tomb in Jiahu along with 29 defunct twins,^[17] made from the wing bones of red-crowned cranes with five to eight holes each, in the Central Chinese province of Henan.^[18] The earliest extant Chinese transverse flute is a chi (篪) flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty.^[19] It is fashioned of lacquered bamboo with closed ends and has five stops that are at the flute's side instead of the top. Chi flutes are mentioned in Shi Jing, compiled and edited by Confucius, according to tradition.

The earliest written reference to a flute is from a Sumerian-language cuneiform tablet dated to c. 2600-2700 BCE.^[20] Flutes are also mentioned in a recently translated tablet of the Epic of Gilgamesh, an epic poem whose development spanned the period of approximately 2100-600 BCE.^[21] Additionally, a set of cuneiform tablets knows as the "musical texts" provide precise tuning instructions for seven scale of a stringed instrument (assumed to be a Babylonian lyre). One of those scales is named embūbum, which is an Akkadian word for "flute".^[21]

The Bible, in Genesis 4:21, cites Jubal as being the "father of all those who play the ugab and the kinnor". The former Hebrew term refers to some wind instrument, or wind instruments in general, the latter to a stringed instrument, or stringed instruments in general. As such, Jubal is regarded in the Judeo-Christian tradition as the inventor of the flute (a word used in some translations of this biblical passage). Some early flutes were made out of tibias (shin bones). The flute has also always been an essential part of Indian culture and mythology,^[22] and the cross flute believed by several accounts to originate in India^[23][24] as Indian literature from 1500 BCE has made vague references to the cross flute.^[25]

Acoustics[link]

A flute produces sound when a stream of air directed across a hole in the instrument creates a vibration of air at the hole.^[26][27]

The air stream across this hole creates a Bernoulli, or siphon. This excites the air contained in the usually cylindrical resonant cavity within the flute. The player changes the pitch of the sound produced by opening and closing holes in the body of the instrument, thus changing the effective length of the resonator and its corresponding resonant frequency. By varying the air pressure, a flute player can also change the pitch of a note by causing the air in the flute to resonate at a harmonic other than the fundamental frequency without opening or closing any holes.

To be louder, a flute must use a larger resonator, a larger air stream, or increased air stream velocity. A flute's volume can generally be increased by making its resonator and tone holes larger. This is why a police whistle, a form of flute, is very wide for its pitch, and why a pipe organ can be far louder than a concert flute: a large organ pipe can contain several cubic feet of air, and its tone hole may be several inches wide, while a concert flute's air stream measures a fraction of an inch across.

The air stream must be directed at the correct angle and velocity, or else the air in the flute will not vibrate. In fippled or ducted flutes, a precisely formed and placed windway will compress and channel the air to the labium ramp edge across the open window. In the pipe organ, this air is supplied by a regulated blower.

In non-fipple flutes, the air stream is shaped and directed by the player's lips, called the embouchure. This allows the player a wide range of expression in pitch, volume, and timbre, especially in comparison to fipple/ducted flutes. However, it also makes an end blown flute or transverse flute considerably more difficult for a beginner to produce a full sound on than a ducted flute, such as the recorder. Transverse and end-blown flutes also take more air to play, which requires deeper breathing and makes circular breathing a considerably trickier proposition.

Generally, the quality called timbre or "tone colour" varies because the flute can produce harmonics in different proportions or intensities. The tone color can be modified by changing the internal shape of the bore, such as the conical taper, or the diameter-to-length ratio. A harmonic is a frequency that is a whole number multiple of a lower register, or "fundamental" note of the flute. Generally the air stream is thinner (vibrating in more modes), faster (providing more energy to excite the air's resonance), and aimed across the hole less deeply (permitting a more shallow deflection of the air stream) in the production of higher harmonics or upper partials.

Head joint geometry appears particularly critical to acoustic performance and tone,^[28] but there is no clear consensus on a particular shape amongst manufacturers. Acoustic impedance of the embouchure hole appears the most critical parameter.^[29] Critical variables affecting this acoustic impedance include: chimney length (hole between lip-plate and head tube), chimney diameter, and radii or curvature of the ends of the chimney and any designed restriction in the "throat" of the instrument, such as that in the Japanese Nohkan Flute.

A study in which professional players were blindfolded could find no significant differences between instruments made from a variety of different metals.^[30] In two different sets of blind listening, no instrument was correctly identified in a first listening, and in a second, only the silver instrument was identified. The study concluded that there was "no evidence that the wall material has any appreciable effect on the sound color or dynamic range of the instrument".

Categories of flute[link]

Playing the zampoña, a Pre-Inca instrument and type of pan flute.

In its most basic form, a flute can be an open tube which is blown like a bottle. There are several broad classes of flutes. With most flutes, the musician blows directly across the edge of the mouthpiece. However, some flutes, such as the whistle, gemshorn, flageolet, recorder, tin whistle, tonette, fujara, and ocarina have a duct that directs the air onto the edge (an arrangement that is termed a "fipple"). These are known as fipple flutes. The fipple gives the instrument a distinct timbre which is different from non-fipple flutes and makes the instrument easier to play, but takes a degree of control away from the musician.

Another division is between side-blown (or transverse) flutes, such as the Western concert flute, piccolo, fife, dizi, and bansuri; and end-blown flutes, such as the ney, xiao, kaval, danso, shakuhachi, Anasazi flute, and quena. The player of a side-blown flute uses a hole on the side of the tube to produce a tone, instead of blowing on an end of the tube. End-blown flutes should not be confused with fipple flutes such as the recorder, which are also played vertically but have an internal duct to direct the air flow across the edge of the tone hole.

Flutes may be open at one or both ends. The ocarina, xun, pan pipes, police whistle, and bosun's whistle are closed-ended. Open-ended flutes such as the concert flute and the recorder have more harmonics, and thus more flexibility for the player, and brighter timbres. An organ pipe may be either open or closed, depending on the sound desired.

Flutes may have any number of pipes or tubes, though one is the most common number. Flutes with multiple resonators may be played one resonator at a time (as is typical with pan pipes) or more than one at a time (as is typical with double flutes).

Flutes can be played with several different air sources. Conventional flutes are blown with the mouth, although some cultures use nose flutes. The flue pipes of organs, which are acoustically similar to duct flutes, are blown by bellows or fans.

Western concert flutes[link]

An illustration of a Western concert flute

The Western concert flute, a descendant of the 19th-century German flute, is a transverse flute that is closed at the top. An embouchure hole is positioned near the top, across and into which the player blows. The flute has circular tone holes, larger than the finger holes of its baroque predecessors. The size and placement of tone holes, the key mechanism, and the fingering system used to produce the notes in the flute's range were evolved from 1832 to 1847 by Theobald Boehm, and greatly improved the instrument's dynamic range and intonation over those of its predecessors.^[31] With some refinements (and the rare exception of the Kingma system and other custom adapted fingering systems), Western concert flutes typically conform to Boehm's design, known as the Boehm system. Beginner's flutes are normally made of nickel, silver or brass which is silver plated, while professionals use solid silver, gold, and sometimes platinum instruments. There are also modern wooden bodies instruments usually with silver or gold keywork. The wood is usually African Blackwood.

The standard concert flute is pitched in the key of C and has a range of three octaves starting from middle C (or one half-step lower, when a B foot is attached to the instrument). This means that the concert flute is one of the highest common orchestral instruments, with the exception of the piccolo, which plays an octave higher. G alto and C bass flutes are used occasionally, and are pitched a perfect fourth and an octave below the concert flute, respectively. Parts are written for alto flute more frequently than for bass^{[citation needed]}. The contrabass, double contrabass, and hyperbass are other rare forms of the flute pitched two, three, and four octaves below middle C respectively.

Other sizes of flutes and piccolos are used from time to time. A rarer instrument of the modern pitching system is the treble G flute. Instruments made according to an older pitch standard, used principally in wind-band music, include Db piccolo, soprano flute (the primary instrument, equivalent to today's concert C flute), F alto flute, and Bb bass flute.

Indian flutes[link]

A Carnatic eight-holed bamboo flute

An eight-holed classical Indian bamboo flute mainly used for Carnatic music

The bamboo flute is an important instrument in Indian classical music, and developed independently of the Western flute. The Hindu God Krishna is traditionally considered a master of the bamboo flute. The Indian flutes are very simple compared to the Western counterparts; they are made of bamboo and are keyless.^[32]

Pannalal Ghosh, a legendary Indian flutist, was the first to transform a tiny folk instrument to a bamboo flute (32 inches long with seven finger holes) suitable for playing traditional Indian classical music, and also to bring to it the stature of other classical music instruments. The extra hole permitted madhyam to be played, which facilitates the meends (like M N, P M and M D) in several traditional ragas.^{[citation needed]}

Pandit Raghunath Prasanna developed various techniques in the realm of flute playing so as to faithfully reproduce the subtleties and nuances of the Indian classical music. In fact, he was responsible to provide a strong base to his Gharana by training his own family members. Disciples of the family like Pt. Bhola nath Prasanna, Pt. Hari Prasad Chaurasia, Pt. Rajendra Prasanna globally known for their melodious music.

Indian concert flutes are available in standard pitches. In Carnatic music, the pitches are referred by numbers such as (assuming C as the tonic) 1 (for C), 1½ (C#), 2 (D), 2½ (D#), 3 (E), 4 (F), 4½ (F#), 5 (G), 5½ (G#), 6 (A), 6½ (A#) and 7 (B). However, the pitch of a composition is itself not fixed and hence any of the flutes may be used for the concert (as long as the accompanying instruments, if any, are tuned appropriately) and is largely left to the personal preference of the artist.^{[citation needed]}

Two main varieties of Indian flutes are currently used. The first, the Bansuri, has six finger holes and one embouchure hole, and is used predominantly in the Hindustani music of Northern India. The second, the Venu or Pullanguzhal, has eight finger holes, and is played predominantly in the Carnatic music of Southern India. Presently, the eight-holed flute with cross-fingering technique is common among many Carnatic flutists. Prior to this, the South Indian flute had only seven finger holes, with the fingering standard developed by Sharaba Shastri, of the Palladam school, at the beginning of the 20th century.^[33]

Temple car carving of Krishna playing flute, suchindram, Tamil Nadu, India

The quality of the flute's sound depends somewhat on the specific bamboo used to make it, and it is generally agreed that the best bamboo grows in the Nagercoil area in South India.^[34]

Chinese flutes[link]

In China there are many varieties of dizi (笛子), or Chinese flute, with different sizes, structures (with or without a resonance membrane) and number of holes (from 6 to 11) and intonations (different keys). Most are made of bamboo, but can come in wood, jade, bone, and iron. One peculiar feature of the Chinese flute is the use of a resonance membrane mounted on one of the holes that vibrates with the air column inside the tube. It gives the flute a bright sound.

Commonly seen flutes in the modern Chinese orchestra are the bangdi (梆笛), qudi (曲笛), xindi (新笛), and dadi (大笛). The bamboo flute played vertically is called the xiao (簫), which is a different category of wind instrument in China.

Japanese flutes[link]

The Japanese flute, called the fue, 笛 (hiragana: ふえ), encompasses a large number of musical flutes from Japan, both of the end-blown and transverse varieties.

Sodina and suling[link]

This unreferenced section requires citations to ensure verifiability.

The sodina is an end-blown flute found throughout the island state of Madagascar, located in the Indian Ocean off southeastern Africa. One of the oldest instruments on the island, it bears close resemblance to end-blown flutes found in Southeast Asia and particularly Indonesia, where it is known as the suling, suggesting the predecessor to the sodina was carried to Madagascar in outrigger canoes by the island's original settlers emigrating from Borneo. An image of the most celebrated contemporary sodina flutist, Rakoto Frah (d. 2001), was featured on the local currency.

Sring[link]

The sring (also called blul) is a relatively small, end-blown flute with a nasal tone quality^[35] and the pitch of a piccolo,^{[citation needed]} found in the Caucasus region of Eastern Armenia. It is made of wood or cane, usually with seven finger holes and one thumb hole,^[35] producing a diatonic scale. The sring is used by shepherds to play various signals and tunes connected with their work, and also lyrical love songs called chaban bayaty, as well as programmatic pieces.^{[citation needed]} The sring is also used in combination with the def and the dohl to provide music for dancing.^{[citation needed]} One Armenian musicologist believes the sring to be the most characteristic of national Armenian instruments.^[36]

See also[link]

• Diple
• Irish flute
• Kaval
• Native American flute
• Palendag
• Piccolo
• Pipe and tabor
• Recorder
• Tin whistle
• Washint
• Frula

References[link]

Bibliography[link]

External links[link]

Wikimedia Commons has media related to: Flutes

Wikisource has the text of the 1911 Encyclopædia Britannica article Flute.

Look up flute in Wiktionary, the free dictionary.

• Creative Flute. You can find more than 1000 public domain free sheet music scores.
• Flute4All. Information regarding flute techniques and technologies are found here.
• Essay on the Jiahu flutes from the Heilbrunn Timeline of Art History at The Metropolitan Museum of Art

A selection of historic flutes from around the world at The Metropolitan Museum of Art

• • Walking Stick Flute and Oboe, Georg Henrich Scherer, Butzbach, ca. 1750–57
  • Glass flute, Claude Laurent, Paris, 1813
  • Porcelain flute, Saxony, 1760–1790
  • Pair of ivory flutes by Johann Wilhelm Oberlender, mid 18th century, Nuremberg
  • Flute by Garion, Paris, ca. 1720–1740
• nature.com New flutes document the earliest musical tradition in southwestern Germany
• Flute at the Open Directory Project
• Flute acoustics Resources on flute acoustics from the University of New South Wales.

Hariprasad Chaurasia
Hariprasad Chaurasia at Bhubaneswar, Orissa
Background information
Born	(1938-07-01) 1 July 1938 (age 73)
Origin	Allahabad, Uttar Pradesh, India
Genres	Hindustani classical music
Occupations	Composer, flute player
Instruments	bansuri
Website	hariprasadchaurasia.com

Pandit Hariprasad Chaurasia (born 1 July 1938) is an Indian classical instrumentalist.^[1] He is a player of the bansuri, the Indian bamboo flute.

Early life[link]

Hariprasad Chaurasia was born in Allahabad in the Indian state of Uttar Pradesh.^[2] His father was a wrestler. His mother died when he was 6. He had to learn music without his father's knowledge, for his father wanted him to become a wrestler. He did go to the Akhada and train with his father for some time, although he also started learning music, and practising at his friend's house. He often credits his wrestling training for giving him the immense stamina and lung power that are the hallmarks of his flute playing, stating that,

Career[link]

Hariprasad Chaurasia started learning vocal music from his neighbor, Pandit Rajaram at the age of 15. Later, he switched to playing the flute under the tutelage of Pandit Bholanath Prasanna of Varanasi for eight years. He joined the All India Radio, Cuttack, Orissa in 1957 and worked as a composer and performer^[3][4][5] Much later, while working for All India Radio he received guidance from the reclusive Annapurna Devi, daughter of Baba Allaudin Khan.

He is considered a rare combination of innovator and traditionalist. He has expanded the expressive possibilities of the bansuri through his masterful blowing technique.

Apart from classical music, he has made a mark as a music director for Indian films along with Pt. Shivkumar Sharma, forming a group called Shiv-Hari. He has also collaborated with various world musicians in experimental cross-cultural performances, including the fusion group Shakti.

He serves as the Artistic Director of the World Music Department at the Rotterdam Music Conservatory in the Netherlands.

He has collaborated with several western musicians, including John McLaughlin and Jan Garbarek, and has also composed music for a number of Indian films. He has performed throughout the world, winning acclaim from varied audiences and fellow musicians including Yehudi Menuhin and Jean-Pierre Rampal.

Personal life[link]

Chaurasia is married to Anuradha, a classical vocalist from Orissa.^[6] They have a son Rajiv.^[7] From his first wife Kamla Chaurasia he has two sons Ajay and Vinay Chaurasia.

Awards[link]

• Sangeet Natak Academy - 1984
• Konark Samman - 1992^[4]
• Padma Bhushan - 1992
• Yash Bharati Sanman - 1994
• Padma Vibhushan - 2000
• Hafiz Ali Khan Award - 2000
• Dinanath Mangeshkar Award - 2000
• Pune Pandit Award - 2008, by The Art & Music Foundation, Pune, India
• National Eminence award, NADA VIDYA BHARTI by Visakha Music and Dance Academy, Vizag - 2009

Honours[link]

• Honoured by Dutch Royal family at Amsterdam,and was conferred with the title Officer in the Order of Orange-Nassau (“officier in de Orde van Oranje-Nassau”) and was honoured by Princess Maxima herself.^[8]
• Ministry of Culture of the Republic of France.^[9] He has been appointed as Knight in the Order of Arts and Letter (“Ordres des Arts et Lettres”) in appreciation of the significant contribution he has made to spread culture in France and the rest of the World - 2009
• Honorary Doctorate by the North Orissa University for his unparalleled role and contribution to the world of Indian Classical Music - 2009

Books[link]

• Official biography "Woodwinds of Change" by Surjit Singh - 2008
• 'Hariprasad Chaurasia and the Art of Improvisation', by Henri Tournier^[10]

Discography[link]

These are major albums released by Pandit Hariprasad Chaurasia, categorized by release dates.²

Chaurasia in 2011

Chaurasia in 2007

With Ustad Zakir Hussain (2012)

1967

• Call of the Valley with Shivkumar Sharma and Brij Bhushan Kabra

1978

• Krishnadhwani 60

1981

• Pt. Hariprasad Chaurasia - Flute

1984

• Pt. Hariprasad Chaurasia - Flute (different set of ragas,same album name)

1987

• Morning to Midnight Ragas - Morning Ragas

1988

• Call of the Valley

1989

• Venu
• Live in Ahmedabad '89

1990

• Immortal Series

1991

• Megh Malhar

1992

• Night Ragas
• Live in Amsterdam '92
• Morning to Midnight Ragas - Afternoon Ragas
• All time Favorites
• Live from Sawai Gandharva Music Festival - Video (VHS)
• Raga-s DU Nord Et Du Sud
• Immortal Series - Flute Fantasia

1993

• Indian Classical Masters
• Daylight Ragas
• Flute - Hariprasad Chaurasia

1994

• Thumri - The Music of Love
• In A Mellow Mood
• Possession
• Immortal Series - Devine Drupad
• Classic Greats1 - Ideas on Flute

1995

• In Live Concert
• Cascades of Hindustani Music
• Maharishi Gandharva Veda - Sunrise Melody
• Maharishi Gandharva Veda - Morning Melody
• Maharishi Gandharva Veda - Midday Melody
• Maharishi Gandharva Veda - Afternoon Melody
• Maharishi Gandharva Veda - Evening Melody
• Maharishi Gandharva Veda - Sunset Melody
• Maharishi Gandharva Veda - Midnight Melody
• Maharishi Gandharva Veda - Late Night Melody
• Hariprasad Chaurasia - Flute
• Malhar-Chandrika
• Music 157 - Live in London
• Music - Flute
• Great Jugalbandis
• Music from the world of OSHO - Above & Beyond
• Prem Yog
• Written on the Wind
• Romantic Themes
• Saptarishi - Live at Siri Fort
• The Mystical Flute of Hari Prasad Chaurasia
• Maestro's Choice
• Basant Bahar
• Chaurasia's Choice

1996

• Hari Prasad Chaurasia & his Divine Flute
• Flute Recital
• Valley Recalls - In search of Peace, Love and Harmony
• Krishna's Flute - Master of the Bansuri
• Classical Encounters - A live Experience with Pt. Hari Prasad Chaurasia
• Fabulous Flute
• Pundit Hari Prasad Chaurasia
• In Concert - Vancouver, B.C
• Hariprasad Chaurasia - Flute
• The Bamboo Flautist of His Generation
• Pt. Hariprasad Chaurasia - Nada in Jerusalem

1997

• Classical Encounters - A Live Experience with Pt. Hariprasad Chaurasia
• Great Jugalbandis
• The Golden Collection (Classical)
• Immortal Essence
• Golden Raga Collection
• Bustan Abraham - Fanar (Guest appearance alongside Zakir Hussain)

1998

• Samarpan-VCD Special 60th Birthday Edition
• The Charms Companion
• Morning to Midnight - Morning to Dusk
• Music for Reiki

1999

• Jugalbandi
• Rasdhaara
• Live Inside Khajuraho
• Live in New Delhi - '89
• Golden Raga Collection
• Musical Titans of India - Jugalbandhi Video (VHS)
• Pure Joy - Positive Energy Music

2000

• Music without Boundaries
• Maaya - Far East
• Hriday - Cuba
• Caravan Spain
• Live Concert at Savai Gandharva Music Festival
• Gurukul - The Guru shishya Parampara

2001

• Adi-Ananth
• Love Divine - Parables of Passion
• Power & Grace - Live at the Saptak Festival 2001
• Discovery of Indian Classical Music
• Flute Duet

2003

• Flute Deity Hariprasad Chaurasia
• The Greatest Hits of Hariprasad Chaurasia
• Salvation - Instrumental Bhajans

Albums (release year unknown)[link]

• La Flute De Pundit Hariprasad Chaurasia
• Hariprasad Chaurasia - The Most Celebrated Flautist of India
• Sound of Silence
• Charm of the Bamboo flute
• Kalpana - Imagination
• A Kaleidoscope of various ragas
• Krishna Utsav
• Kali - Classical Instrumental
• Pt. Hariprasad Chaurasia - the Living Legend of Flute
• Moon Light Moods - Flute Recital
• Pt. Hariprasad Chaurasia - The Living Legend of Flute
• Indian Music
• HariDhwani
• Fusion India - Passage of India Series
• Being Still
• Dhammapada - Sacred teaching of Buddha
• The Charms Companion
• Eternity
• Nothing but wind (1988) - Composed by Ilaiyaraaja

With Zakir Hussain

• Making Music (ECM, 1986)

Music for Bollywood films[link]

Along with Pandit Shivkumar Sharma he composed music for

• Chandni
• Darr
• Lamhe
• Silsila
• Faasle
• Vijay
• Sahibaan

Music for Telugu films[link]

The music for the movie Sirivennela is composed by K. V. Mahadevan which revolves around the role of Pandit Hari Prasad, a blind flautist played by Sarvadaman Banerjee and flute renditions by Hariprasad Chaurasia.^[11]

Music for English films[link]

Some of his music is used in Mithaq Kazimi's 16 Days in Afghanistan.

References[link]

External links[link]

Wikimedia Commons has media related to: Hariprasad Chaurasia

• Official website
• Interview with Choodie Shivaram
• Hariprasad Chaurasia by Mohan Nadkarni
• Interview with The Scholars' Avenue, IIT Kharagpur

Emmanuel Pahud
Birth name	Emmanuel Pahud
Born	(1970-01-27) January 27, 1970 (age 42) Geneva, Switzerland
Genres	Baroque, Classical, Jazz
Occupations	Musician
Instruments	Flute
Years active	1985–present
Labels	EMI Classics

Emmanuel Pahud (b. January 27, 1970) is a Swiss flute player.

He was born in Geneva, Switzerland. His father is of French and Swiss background and his mother is French. The Berlin-based flutist^[1] is most known for his baroque and classical flute repertory.

Pahud was born into a non-musical family.^[2] As a young boy living in Italy, the sounds of the flute captivated Pahud.^[1] From the age of four to the age of 22, he was tutored and mentored by flutists such as François Binet, Carlos Bruneel and Aurèle Nicolet.^[3] Classically trained at the Conservatoire de Paris, he leapt into the international orchestral and solo music scene when he joined the Berlin Philharmonic Orchestra in 1992.

His versatility in music styles over the years has “signalled the arrival of a new master flautist” (The Guardian).^[4] He plays in diverse music genres, whether baroque, jazz, contemporary, classical, orchestral, or chamber music.

Biography[link]

Early life[link]

Travelling has been a big part of Emmanuel Pahud's life from birth. His father worked for a U.S. company, and the family moved repeatedly during his childhood.^[5] However, this would only shape Pahud's international outlook for his future.^[2] Only six weeks after Pahud was born, his parents moved to Baghdad for one year. They moved again when he was 1 to Paris, where Emmanuel's younger brother was born. In 1972, they then moved to Madrid for two years, and in 1974, finally settled in Rome for four years. In their apartment building in Rome, lived the Swiss-French Binet family whose four children played musical instruments. The father (François) was a flautist who studied in Zurich and Paris but stopped performing in later years. At the age of four, Pahud first heard the flute. As the eldest son Philippe played the Flute Concerto No. 1 (Mozart) K.313 in G Major,^[5] it set the course to a remarkable chapter of Pahud's life.^[1] He recalls:

I could hear the flute, the violin, the cello, the piano. I don't know why I chose the flute but maybe it was because the eldest son was playing it, so he was the one playing at the best level at that time - or because the father was also a flute player, so there was a kind of authority there. Anyhow, I said to my parents, "I want to play the flute, I want to play the Mozart concerto that guy next door is practicing."^[2]

That Christmas, after receiving his first flute, Pahud began his first year of lessons with Philippe (who was only 15 years old) and the next three years with Phillipe's father, François.^[6]

In 1978, at the age of eight, the Pahud family moved to Brussels, Belgium. Emmanuel then began studying at the Music Academy of Uccle in Southern Brussels.^[7] There he studied with Michel Moinil from 1979-1985.^[7] As he became more determined and focused on playing the flute at a higher level; Pahud began to study from 1984-87^[7] with Carlos Bruneel, the then and current principal flautist of the Théâtre Royal de la Monnaie opera house in Brussels. In 1985, Pahud won the National Competition of Belgium (le concours National de Belgique)^[8] and in the same year, he played his first concert with the National Orchestra of Belgium, performing the piece that inspired him 11 years earlier: Mozart Concerto K.313 in G Major.^[8] Pahud remained in Brussels until receiving his A-Level at the age of 17 and went off to finish his schooling in Paris. With the strong support of his family, he also received lessons with other of Europe's finest players, including Peter-Lukas Graf in Basel.^[3][7]

Studies and early accomplishments[link]

Pahud attended the Conservatoire de Paris (Conservatoire National Supérieur de Musique de Paris) in France, studying with Michel Debost, Alain Marion, Pierre Artaud, and Christian Larde. Whilst studying, he won two major competitions, one in Duino 1988 and the other in Kobe^[9] in 1989. In 1988, Emmanuel also won the 2nd Prize at the International Scheveningen Music Competition in Scheveningen, Netherlands.^[6][7] Winning these competitions put Pahud in the forefront to become principal flautist in the Basel Radio Symphony, under the direction of Nello Santi which he obtained the position in 1989 whilst finishing his studies in Paris. He resigned from the orchestra in 1992.^[7] Pahud also held the principal flautist position at the Munich Philharmonic^[3] under Sergiu Celibidache. Pahud graduated at the age of 20 from the Conservatoire in 1990, obtaining the First Prize (Premier Prix). He then continued to advance his studies for the next two years; in style and interpretation with one of France's greatest flautists, Swiss-born Aurèle Nicolet who turned out to be his neighbour.^[6][10] In 1992, Nicolet prepared Pahud in an extensive 10 day rehearsal for both the Geneva International Music Competition, or le Concours International de Genève in September of that year and the audition for principal flautist of the Berlin Philharmonic Orchestra (BPO) in October.^[6] He acknowledges achieving both the first prize at le Concours International de Genève and being appointed for the position at the age of 22 by BPO's conductor, Claudio Abbado^[3] to his experience with Nicolet.^[6]

Career[link]

Berlin Philharmonic Orchestra[link]

Being appointed as principal flautist at the BPO signalled Pahud's entrance into the international spotlight. He entered the orchestra during its rejuvenation period as the post-war generation of players began to retire.^[6] Over 40%, including Pahud's position was up for audition, or on trial. His predecessor was Karlheinz Zöller (1960–69, 1976–93).^[6] Apart from Pahud, other previous international flautists held the same principal flautist position such as Aurèle Nicolet (1950–59)^[11] and Sir James Galway (1969–75).^[3] As many international musicians filled these positions; Pahud found the BPO generating a unique sound experience unlike anywhere else:

There was a way of phrasing and wave that goes throughout the orchestra, coming from the bass and shaping the phrase with amazing beauty and intensity.^[6] The dynamic range of the orchestra was phenomenal. The art of playing with the Berlin Phil is very different compared to other Orchestras, where we work as equals with our individual voice.^[1]

Pahud at 22 was the youngest player in the Berlin Philharmonic, a position to which he returned in 2002 under Sir Simon Rattle after taking a 18 month sabbatical in 2000^[4] in order to teach the Virtuosity Class at the Conservatoire de Musique de Genève for one year and to perform in concerts worldwide. He was surprised on how emotional it was to leave the BPO. He recalls his emotions beginning a couple of hours before playing his last concert and only leaving him once he rejoined BPO in 2002.^[2] The versatility and authority of current conductor Sir Simon Rattle,^[12] says Pahud, gives the orchestra a unique working partnership and a capacity to be more adventurous in its exploration of repertoire.^[12] He also sees Rattle as an intellect; "he knows the orchestra and he achieves what he wants by taking into account the vision of the musicians.^[8] In addition, Pahud also observed that whilst the former conductor Herbert von Karajan "produced a big string sound with a great legato. The Rattle sound is a very transparent and constructed sound, with much more articulation to achieve definition in the sound." In baroque and classical music, this represents the influence of period performance.^[12]

The Berlin Philharmonic these days considers themselves a very individualist and soloistic "large ensemble."^[1] In 2007, Pahud was voted onto the Media Vorstand (or the Member of the Media Board) of the BPO.^[4][10] He currently shares the position of Principal Flautist with Andreas Blau who has held the position since 1969.^[13]

International appearances[link]

Pahud's workload has more than tripled since the early days of his international career in 1992. At that time he was doing about 50 concerts a year - but with the success of his solo career and continued involvement with the Berlin Philharmonic Orchestra, that number has spiralled to around 160;^[2] 90 solo or chamber music and 75 orchestral concerts in an average year – roughly twice the number of performances that most musicians would consider a heavy work-load.^[14] Pahud says that it's a balance he has had all his life and what prevents him from being isolated in one genre or repertoire of music, or what he calls "a musical corner".^[14]

In 1993, Pahud began accepting international concert performances soon after settling into his position in Berlin. He has appeared as soloist with internationally renowned orchestras in addition to the Berlin Philharmonic: the Yomiuri Nippon Symphony Orchestra, the London Symphony Orchestra, the Tonhalle Orchester Zurich, L'Orchestre de la Suisse Romande, the Berlin Radio Symphony Orchestra (East Berlin), and the Danish Radio Symphony also known as the Danish National Symphony Orchestra.^[3] He also appears regularly at leading festivals throughout Europe, the United States and the Far East.^[15] His more famous international concerto appearances and collaborations of the past few seasons (2005–2008) included the Berlin Philharmonic, the Baltimore Symphony Orchestra, the London Philharmonic Orchestra, the Monte-Carlo Philharmonic Orchestra, the Bavarian Radio Symphony Orchestra, the NHK Symphony Orchestra, the Berliner Barock-Solisten, the Vienna Radio Symphony Orchestra, the Orchestre National de Belgique, the Orchestre Philharmonique de Radio France and a U.S. tour with the Barcelona Symphony and Catalonia National Orchestra (including a Carnegie Hall debut).^[15] Another famous concerto collaboration took place in 2005-2006 with the Australian Chamber Orchestra in reviving the Vivaldi Flute Concertos.^[16]

Pahud is also a dedicated chamber musician and has recently made international appearances throughout Europe, North America and Japan in recital with pianists Éric Le Sage and Stephen Kovacevich as well as in a flute and string quartet formation with Christoph Poppen (violin), Hariolf Schichtig (viola) and Jean-Guihen Queyras (cello)^[15] with whom he recorded his 1999 record Mozart Flute Quartets.^[17] In 1993, he co-founded Le festival de l'Empéri^[18] in Salon-de-Provence, France, along with his regular chamber music partners pianist Éric Le Sage (close friend and confidant) and Paul Meyer (clarinetist).^[19] In a French interview, Pahud describes the success of the festival as a project "filled with enthusiasm and fun"^[8] where the public has "recognised our work, our fellow artists, musicians and actors and have the desire to come back regularly." ^[8] He also describes the festival as a "musical laboratory" which avoids the programming of works that the public are used to hearing in concert halls. It is about "daring to combine performers, works (music), create new collaborations and by taking risks.^[8] Pahud has made several recordings and performed internationally with pianist Éric Le Sage throughout his career.^[17] In 2008 he performed for the first time at the Jerusalem International Chamber Music Festival, where he played in the world premier of Elliot Carter's Flute Concerto, conducted by Daniel Barenboim. He returned to the Festival on 2009 to play in a series of concerts.

Musical styles and recordings[link]

Pahud describes his versatility over the years in music, as transforming himself into a chameleon who tries to match the colour of the music, or the idea he has of it, to what the composer had in mind. But his discography and career has also been built on encounters; both professionally and human relationships.^[20] He expresses in playing like a chameleon, "I try to change style, colour and phrasing, the way I breathe and articulate to suit the piece I am playing. I do not represent any particular national style."^[12] Pahud seems himself as a performer/actor rather than a composer/creator.^[12] For the Dalbavie Record (2008) Pahud dedicated himself to commissioning new works and to start new flute concertos; performing them for the first time on stage. Three composers were selected: Marc-André Dalbavie (French), Michael Jarrell (Swiss), and Matthias Pintscher (German) reflecting Pahud as a French and Swiss citizen living in Germany for over 15 years.^[21] Whilst working with German Composer, Matthias Pintscher; Pahud sought to explore a new level and style of playing the flute. He recalls:

We spent some time talking about the effects and about the special way of using the instrument. The most interesting thing is how you interconnect these various effects [from an instrument] that is one of the oldest on earth. Whether you blow on it, in it, or you use it as a trumpet or a recorder; you can have a lot of different sounds on such an instrument. But that's nothing new about it, the new thing is how you can combine them and how you can get them to interconnect so that it becomes one musical statement; one phrase.^[21]

In March 2008 Pahud performed the World Première of another work commissioned by Frank Michael Beyer, who composed Meridian, a Concerto for Flute & String Ensemble.^[22] Other World Premières include music composed by Elliot Carter: Concerto for Flute & Ensemble, which Pahud premièred in September 2008 in Jerusalem.^[23] It was joint commissioned by the BPO, Jerusalem International Chamber Music Festival and Boston Symphony Orchestra.^[24] Pahud will World Première the Flute Concerto by Luca Lombardi in 2010, commissioned by the Kansas City Symphony.^[25]

Though he is an enthusiastic consumer and commissioner of new music, Pahud sounds most excited when relishing the old repertoire. “Mastery of an instrument helps you to sense new barriers. This is where you keep music moving,"^[3] and he acknowledges his various experiences with newer flute compositions as benefiting the way he performs his traditional repertoire.^[21] Pahud sees the future of interpretation (of music) will always be a blend of "tradition and novelty."^[7] But to him, this concept is not a novelty in itself. Many composers have evolved from traditions such as Bach for Fortepiano and Beethoven for the Hammerklavier.^[7] Pahud sees the term "tradition" as often being used to disguise the past, a lack of evolution or in denial of progress. But to him, the meaning of tradition is something evolving.^[7] He adds, "Artists such as Wilhelm Furtwängler, Herbert von Karajan, Claudio Abbado and Simon Rattle (conductors of BPO) were or are in line with tradition and make it evolve. In complete unconsciousness they feed from the past to define the future. That is one of the secrets of these great artists."^[7]

In most interviews, Pahud describes music/musical styles in terms of "phrasing" or a Phrase (music). In musical terms, this refers to "a musical unit, often a component of a melody. The phrase may be regarded as a dependent division of music, such as a single line of poetry; it does not have a sense of completion in itself. Usually two or more phrases balance each other."^[26] It is like a grammatical construction with words to stress. Musical phrasing is also expressed in terms of how the music is executed. In terms of style of the Dalbavie concerto itself, Pahud reflects how the flute finds a resonance within the orchestra whilst maintaining its virtuosic, colourful and sensual phrasing.^[21] In interpreting the poetic style of Jarrell, where the imagination of both the composer and of the audience are "immensely present" in his writing; Pahud describes, "This is something to me I like a lot in music is exactly what you cannot express with words but that its all there in the essence of the music."^[21] On reflecting the style of the famous flutist Jean-Pierre Rampal, "[Rampal] brought something new and unusual in terms of sound, class and grandeur of the expressive aspect of the flute. He was able to perform admirable phrases that never seemed to end, or how the breathing faded into the musical flow; and his ability to make the sound of the flute seem to extend endlessly, infinitely."^[7]

Pahud’s debut into the world of jazz came through meeting and collaborating with jazz pianist Jacky Terrasson. He admires and derives inspiration from jazz flutists such as: James Newton, James Moody (saxophonist) (also a flute player), Herbie Mann, and Jeremy Steig.^[27] He has explored jazz further through performing big band music with friends and colleagues from the Berlin Philharmonic and local jazz musicians. Other examples of his vast interests in innovative musical genres include so-called “one-time projects” (as Pahud calls them); most recently in 2006, it included a collaboration project with the NHK Symphony Orchestra of a recorded original soundtrack for the NHK Taiga series Komyo ga Tsuji (Jp: 功名が辻).^[1]

For the many that come to see Pahud perform, either jazz or classical; it is not only about entertaining. Pahud reflects on his audiences being able to learn about music at his performances; it is about reacting at different levels and ranges of emotions. To Pahud, it is about interacting, connecting and enabling the audience to think about what is happening as the music is being played. He wants to open opportunities in developing curiosity to discover more about music as a way of giving back to the audience.^[6]

In 1996 he signed an exclusive contract with EMI Classics, the only flutist in the world to have a solo recording contract with a major record company. Pahud promises to be one of the most significant contributors to the catalogue of recorded flute music today.^[16][28] Nowadays much of his time is taken up with recording. He extended his contract with EMI for a further six years.^[2] Recording adds a welcome diversity to Pahud's schedule:

I like to work for the mic - it brings a certain close-up on your playing. You have to take care of lots of things that you do not necessarily have to take care of when you are performing in a live concert hall. You don't have the emotional or the visual support, and you have to be exciting nevertheless. So at the same time you have to take greater care of the detail and bring a greater intensity to the music.^[2]

Pahud has recorded and/or collaborated a total of 22 discs with EMI.^[17]

Instrument[link]

Pahud's first flute was a silver-plated Yamaha. His parents later bought him two Muramatsu Flutes, one half hand-made and the other fully hand-made.^[6] Pahud currently plays a 14-karat golden flute which he bought from Brannen Brothers in Boston, Massachusetts in 1989^[12] with money he won from competitions.^[6] Two weeks later he bought a head joint (the part into which the player blows) from Dana Sheridan, another Boston flute manufacturer.^[12] Pahud chose the Brannen flute body because it is one of the only flute makers that produce a decent Cooper scale,^[6] based on the scales developed by Albert Cooper (flute maker). He describes his instrument:

This is the most flexible instrument I have tried so far. It enables me to transpose into music what I'm thinking and what I'm feeling. But, although the instrument is important, the player is the most important. All the work must be done before the mouth even makes contact with the instrument. It all happens by the way you hold your muscles, control your lungs, use the different cavities in the head and the upper body to let the sound resonate more or less.^[12]

Personal life[link]

Pahud has two sons, Grégoire and Tristan, from a former marriage.^[2]

Repertoire[link]

Flute and Symphony Orchestra^[29]

• Lennox Berkeley: Concerto op. 36
• Leonard Bernstein: Halil for Flute & Orchestra
• Ferruccio Busoni: Divertimento
• Aram Khatchaturian: Concerto
• György Ligeti: Double Concerto for Flute & Oboe
• Lorin Maazel: Music for Flute and Orchestra
• Carl Nielsen: Concerto
• Carl Reinecke: Concerto in D major op. 283
• Jacques Ibert: Concerto

Flute and Chamber Orchestra^[29]

• Theobald Boehm: Concerto in G major, op. 1
• Domenico Cimarosa: Concerto in G major for 2 flutes
• Franz Danzi: Sinfonia Concertante for Flute & Clarinet
• François Devienne: Concerto no. 2 in D major, and No. 7 in E minor
• Sofia Gubaidulina: Music for Flute, Strings and Percussions
• Michael Haydn: Concerto in D major
• Arthur Honegger: Double Concerto for Flute & Oboe
• Bernhard Molique Concerto in E minor
• Wolfgang Amadeus Mozart: Concerto in G major K313, Concerto in D major K314, Concerto for flute and harp K299, Andante in C major K315, Rondo in D major K184
• Carl Nielsen: Concerto
• Jacques Ibert: Concerto
• Jean Rivier: Concerto
• Erwin Schulhoff: Double Concerto for Flute & Piano
• Friedrich Schwindl: Concerto in D major
• Salvatore Sciarrino: Rondo
• Louis Spohr: Concerto no. 8 in a minor op. 47
• Carl Stamitz: Concerto in G major
• Mario Zafred: Concerto

Flute and Strings^[29]

• Carl Philipp Emanuel Bach: Concertos in D minor (H426), G major (H445), A major (H438) and B flat major (H435)
• Johann Sebastian Bach: Concerto in A minor BWV 1056, Suite no. 2 in B minor BWV 1067, Brandenburg Concertos nos 4 and 5, Triple concerto BWV 1044
• Luigi Boccherini: Concerto in D major op. 27
• André Grétry: Concerto in C major
• Joseph Haydn Concerto in D major
• André Jolivet: Concerto
• Jean-Marie Leclair: Concerto in C major no.3 op. 7
• Saverio Mercadante: Concerto in E minor
• Giovanni Battista Pergolesi: Concertos in G major and D major
• Ignaz Pleyel: Concerto in C major
• Johann Joachim Quantz: Concertos in G major, D major, C minor, E minor
• Georg Philipp Telemann: Concertos in F major and G major
• Antonio Vivaldi: Concerti: Four Seasons, Piccolo concerto

Awards and recognition[link]

• 2009: Awarded the French Order of Arts and Literature (Ordre des Arts et des Lettres) presented by Ambassador Bernard de Montferrand for contribution to French music.^[30]
• 2006: Lucerne Festival honoured him with the highest distinction of “Artiste Étoile”.^[1]
• February 1998: "Instrumentalist of the Year 1997" at the prestigious Victoires de la Musique award ceremony in Paris.^[4]
• 1998-99: Pahud's second EMI disc, Paris (1998) containing French flute music, in collaboration with Le Sage, won the Diapason d'Or award.^[3]
• 1997-98: Pahud's first EMI disc, Mozart Flute Concertos and the Concerto for Flute and Harp (1997) won the Diapason "CD of the Year" award, the Radio France listeners' poll as favourite recording of the year, the Japanese Geijutsu Award, and a Fono-Forum award.^[3]
• October 1992: Hand-picked by Claudio Abbado to be principal flautist of Berlin Philharmonic Orchestra.^[1]
• September 1992: Pahud won eight out of the twelve special prizes at the Concours de Genève.^[16]
• 1989: Won first prize at the Kobe International Flute Competition.^[16]
• 1988: Won first prize at the Duino International Music Competition.^[16]
• 1988: Won second prize at the International Scheveningen Music Competition.^[6][7]
• 1985: Won first prize at the National Competition of Belgium (le concours National de Belgique)^[8]

• Soloists Prize in the Worldwide French-speaking Community Radio Awards.^[16]
• Awarded a total of four TV-Echo awards in Germany.^[16]
• "Ongaku no Tomo" award from the Japanese record industry.^[16]
• Awarded European Council's Juventus Prize.^[6]
• Pahud is also a laureate of the Yehudi Menuhin Foundation and of the International Tribune for Musicians of UNESCO.^[6]

Discography[link]

On EMI Classics^[17][31]

• Fantasy: A Night at the Opera (2010)
• Opium- Mélodies françaises (2009)
• Bach Flute & Harpsichord Sonatas (2008)
• Dalbavie: Flute Concerto (2008)
• Brahms: Sonatas Op.120, No.1 & No.2 and Reinecke Sonata Op.167 (2007)
• Nielsen: Clarinet & Flute Concertos, Wind Quintet (Nielsen)Wind Quintet with Sabine Meyer, BPO (2007)
• Vivaldi: Flute Concertos with Australian Chamber Orchestra (2006)
• Haydn: Flute Concertos etc. (2005)
• French Connection: Chamber Works (2005)
• Beau Soir with Mariko Anraku (2004)
• Le Carnaval des animaux (2004)
• Khachaturian/Ibert Flute Concertos with Tonhalle-Orchestra Zürich (2003)
• Into the Blue with Jacky Terrasson (2003)
• Telemann Concertos (2003)
• Gubaidulina: The Canticle of the Sun- Music for Flute, Strings and Percussion (2001)
• Mozart: Flute/Flute & Harp & Clarinet Concerti with Sabine Meyer (2001)
• Bach: Brandenburg Concerto No.5 etc. with Berliner Barock Solisten (2001)
• Debussy/Ravel/Prokofiev (2000)
• Mozart: Quartets for Flute, Violin, Viola & Cello (1999)
• Haydn: Flute Concertos with Haydn Ensemble Berlin (1998)
• Cantos y Danzas with Manuel Barrueco (1998)
• Paris- French Flute Music with Eric Le Sage (1998)
• Mozart: Flute Concertos with BPO (1997)

On Auvidis Valois^[31]

• Weber: Sonatas for flute and piano with Eric Le Sage (1995)
• Schubert: Introduction and Variations D.802, Sonata D.821, Sonatine D.385 with Eric Le Sage (1994)
• Beethoven: Sonata in B flat major, Sonata in F major op. 17, Serenade in D op.41 with Eric Le Sage (1993)

On Musiques Suisses^[31]

• Flötenmusik (1995)

References[link]

1. ^ ^{a b c d e f g h} Patrick Lam, Emmanuel Pahud - The showcase behind a début, ConcertoNet, 16 May 2008. Retrieved on 2009-04-20
2. ^ ^{a b c d e f g h} Profile: Emmanuel Pahud, Muso, October 2005. Retrieved on 2009-04-02
3. ^ ^{a b c d e f g h i} Joseph Stevenson, Artist: Emmanuel Pahud, All Music Guide. Retrieved on 2009-04-01
4. ^ ^{a b c d} Biography, EMI Classics/Virgin Classics. Retrieved on 2009-04-18
5. ^ ^{a b} Joyce Morgan, "Flautist's dream calling", The Age, 16 July 2003. Retrieved on 2009-04-19
6. ^ ^{a b c d e f g h i j k l m n o} Sir James Galway, Interview with Emmanuel Pahud, thegalwaynetwork. Retrieved on 2009-04-18
7. ^ ^{a b c d e f g h i j k l} Interview with Emmanuel Pahud- pages 1-3, 5, 8, 11 (en français) La Traversière. Retrieved on 2009-06-30
8. ^ ^{a b c d e f g} ClassiqueNews.Com interview with Emmanuel Pahud (en français), ClassiqueNews.Com. Retrieved on 2009-07-11
9. ^ Kobe 2nd International Flute Competition, Kobe City Office. Retrieved on 2009-04-19
10. ^ ^{a b} Berlin Philharmoniker: Emmanuel Pahud Principal Flautist, Berlin Philharmoniker. Retrieved on 2009-04-25
11. ^ Zoran Minderovic, Artist: Aurèle Nicolet, All Music Guide. Retrieved on 2009-04-30
12. ^ ^{a b c d e f g h} Classical glamour with style, Fine Music (magazine), 2MBS-FM 102.5, August 2005 (reprinted on NSW HSC Online). Retrieved on 2009-04-19
13. ^ Berlin Philharmoniker: Andreas Blau Principal Flautist, Berlin Philharmoniker. Retrieved on 2009-04-30
14. ^ ^{a b} Shirley Apthorp, "Arts: An indefatigable flautist with an experimental nature", The Financial Times Ltd, 17 May 2006. Retrieved on 2009-04-30
15. ^ ^{a b c} Vancouver Recital Society, Emmanuel Pahud, Flute & Hélène Grimaud, piano, Vancouver Recital Society, Retrieved on 2009-04-30
16. ^ ^{a b c d e f g h} The Kennedy Center: Biography of Emmanuel Pahud, [1], John F. Kennedy Center for the Performing Arts. Retrieved on 2009-04-28
17. ^ ^{a b c d} Emmanuel Pahud Discography, EMI Classics/Virgin Classics. Retrieved on 2009-04-01
18. ^ Festival international de musique de Salon de Provence (en français), Musique à L'Empéri. Retrieved on 2009-05-28
19. ^ Chamber Works, EMI Classics/Virgin Classics. Retrieved on 2009-04-30
20. ^ Matthew Connolly, "Centrecourt player: Why Emmanuel Pahud is the flute's big hitter", The Times, 23 July 2004. Retrieved on 2009-04-19
21. ^ ^{a b c d e} Emmanuel Pahud Audio & Video, EMI Classics/Virgin Classics. Retrieved on 2009-04-30
22. ^ Beyer, Frank Michael, Boosey & Hawkes. Retrieved on 2009-07-10
23. ^ Carter, Elliot, Boosey & Hawkes. Retrieved on 2009-07-10
24. ^ Emmanuel Pahud Performance- Première, Berlin Philharmonic Orchestra. Retrieved on 2009-07-10
25. ^ Emmanuel Pahud Performance- World Première, Kansas City Symphony. Retrieved on 2009-07-10
26. ^ Virginia Tech Multimedia Music Dictionary:Phrase, Search Word: Phrase, Virginia Tech Multimedia Music Dictionary, Retrieved on 2009-04-30
27. ^ Barnes & Noble: Artist Interview- Emmanuel Pahud, All Media Guide, LLC, Retrieved on 2009-04-30
28. ^ Music: Emmanuel Pahud, Global Radio 2008. Retrieved on 2009-04-30
29. ^ ^{a b c} Emmanuel Pahud Repertoire, Mark Stephen Buhl Artist Management. Retrieved on 2009-04-15
30. ^ Berlin Philharmoniker Award for Contribution to French Music (article in German (Deutsch)) Berlin Philharmoniker. Retrieved on 2009-07-11
31. ^ ^{a b c} Emmanuel Pahud Discography, Mark Stephen Buhl Artist Management. Retrieved on 2009-04-15