AMA-Verlag AMA Querflötenschule Winn Robert

Prof. Robert Winn, born in Hallifax, is a graduate of the Royal Academy of Music in London and also studied privately with Geoffrey Gilbert, Trevor Why and Edward Beckett during his studies. From 1985-1999 he was principal flutist with the Royal Philharmonic Orchestra London and played the major works of the symphonic repertoire such as Dorati, Maazel, Previn, Davis, Masur and Ashkenazy. Composers such as Beriot, Lloyd Webber, Peter Maxwell Davies, Maurice Jarre, Buddy Rich and Dizzy Gillespie. In addition to his extensive experience in classical music - he was the winner of numerous competitions, such as the Martin Trust Scholarship in London and the Capital Radio Anna Innstone Award - he has worked as a flutist in numerous Hollywood films (The Lord of the Rings, Notting Hill, The English Patient and much more). Through his teaching activities (from 1994–1998 he was a professor at the Liszt University of Music in Weimar; in 1999 he received the professorship for flute at the Cologne University of Music), he has worked with musicians such as Sir Peter Pears, Heather Harper and Hubert Käppel for years , Gideon Kremer, Andre Previn, Robert Masters and Vladimir Ashkenazy together. Robert Winn has been a guest lecturer at numerous master classes, including in Canada, Australia, Spain, Belgium and the Czech Republic. Teaching books for beginners and advanced flute students as well as textbooks on certain flute-specific technical topics are available from AMA Verlag. His "AMA Querflötenschule" is the first part of a three-volume school ("Querflötenspielereien" (AMA No. 610243), "High Performance Flute" (AMA No. 610260)), which was published in the Fun School series and is directed to students from 7 years. In this school all important aspects of the instrument (headjoint, approach, care of the instrument) and harmony are addressed. The author does not use lengthy explanatory texts, but works with a minimum of words and instead with many color photographs that provide information about posture and grip positions (e.g. the thumb flaps). Chapters on “How do I get longer breath” and “Daily breathing training” prepare the student to be able to play songs with long melody curves. At the end of school, the range of the students grows to the third octave and all the important basic keys are practiced in many practice pieces. The school ends with a chapter on notated scale exercises and is rounded off with notated fingering diagrams. The exercises are recorded on the CD (including playbacks) with different accompanying sounds so that the student can expand his musical awareness.