Anders Ljungar-Chapelon

International Tutor in Flute

International Tutor in Flute 

For many years resident in Germany and France Dr Anders Ljungar-Chapelon was active as Principal Flautist in symphony, opera and chamber orchestras. 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. Anders Ljungar-Chapelon 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 et Bande magnétique (1996). His repertoire also includes a great number of works dedicated to him.

I addition to his work at the RNCM, Anders Ljungar-Chapelon is a sought-after professor and lecturer. He was the first Scandinavian flautist ever invited to teach at the Paris national conservatory since it’s foundation in 1795, and also teaches at Staatliche Musikhochschule Wien (Austria), National University of Brasilia (Brazil), International Summer Academy in Nice (France), National Music Conservatory of Vietnam (Hanoi), 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 Zealand and Greenland.

Dr Ljungar-Chapelon further develops teaching materials and writes articles in the specialist press. He edits historic musical manuscripts published by the editions The Flautists 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.

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. Anders Ljungar-Chapelon performs on golden flutes made especially for him by Sankyo Flutes in Japan, and traverso flutes made by Alain Weemaels in Brussels, Belgium.

Current and Future Research

Dr Ljungar-Chapelon is a researcher and supervisor (Master and Phd) within artistic research and music education of the professional musician. His research is based on hermeneutics from methodological and philosophical perspectives, together with writings by Plato, Aristotle, Chladenius, Schleiermacher, Kierkegaard, Dilthey, Heidegger and Gadamer. Some examples of his research are about Swedish flute music from the 18th and 19th centuries, Schoenberg’s 12-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 world 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.