The Louis Erard Men's Chronograph Watch is designed with a handsome silver dial that features three subdials for superior functionality. Constructed with a stainless-steel case, the timepiece also includes a stationary stainless-steel bezel and a brown reptile-pattern leather wristband with an adjustable deployment buckle clasp. A tough sapphire window shields the dial, which features silver-tone dash hour markers. The dial includes three subdials that track the seconds, minute, and hour and a track for second intervals. Powered by Automatic movement, the watch is water resistant to 165 feet.
Read more...
The Louis Erard Men's Automatic Silver Dial Watch showcases a textured silver dial with a discrete skeleton caseback that creates a refined, expressive watch worthy of business and casual wear. Constructed with a stainless-steel case, the watch includes a stationary stainless-steel bezel, and a black leather wristband secured with a deployment buckle clasp. A durable sapphire crystal shields the textured silver dial, which features blue watch hands. A second subdial and hour subdial rest in the middle of the dial. Powered by Automatic movement, the timepiece is water resistant to 165 feet (50 M).
Read more...
National differences in performance style have existed for centuries. Even the instruments themselves varied from country to country and from generation to generation. For a flutist, one only needs to try playing a Hotteterre style French flute from c.1700 and compare it to a Quantz flute of the 1750s to see how different the instruments were. Yet, they were both ideal for the particular repertoire of their time. The Quantz flute, with its big and sonorous tone, makes playing delicate French ornaments difficult, just as one wouldn t want to try to navigate the virtuosic and chromatic passages of a C.P.E. Bach sonata on the French flute.
While these national styles were probably most prevalent during the 18th and 19th centuries, they definitely carried into the early and mid-twentieth century. Debussy and Ravel preferred the sound of the Erard piano, while in Germany and the United States the Steinway was the piano of choice. In Germany and England, wood flutes were more common than the silver French style flutes. (Wagner didn't like Boehm's silver flutes he thought they couldn't play softly enough!
Throughout the 20th century, perhaps due to the overwhelming availability of recordings and the ease of global travel, all the styles have begun to blend and the individual nationalistic styles (and instruments) have become more international. Jean- Pierre Rampal, probably the last great flutist trained in the French School of flute playing, said that there is no longer a French Flute Style, but rather an International Style differentiated only by good and bad playing. While it may be true that the overall standards of playing have improved, it is certainly possible to say that a kind of individuality is lost due to the internationalization of instruments and playing styles. Today, almost everyone the world over plays a Steinway piano or a Cooper-style flute. The point is not that these instruments are bad, but that the mass-market approach to instrument making has both its pros and cons. Anyone can have an affordable high-quality instrument, but these instruments no longer speak with such a clear individual voice.
Flutist Immanuel Davis is a highly versatile performer who enjoys performing a wide range of repertoire, from the baroque to the contemporary. He has performed as a recitalist and master class teacher worldwide, including in Tokyo and at Gloppen Musikkfest in Sandane, Norway, where he was also principal flutist for the festival orchestra. He has appeared as a recitalist and chamber musician at Weill Recital Hall at Carnegie Hall, MoMa's Summer Garden Series, Noonday Concerts at Trinity Church, and the Meet the Virtuoso series at the 92nd St Y. Orchestral work has included performances with the St. Paul Chamber Orchestra, Minnesota Orchestra, Oregon Symphony, Riverside Symphony, Hudson Valley Philharmonic, Jupiter Symphony and Buffalo Philharmonic. Mr. Davis has also played on Broadway in Fiddler on the Roof, Show Boat and Ragtime, among others. Immanuel released his first CD, Prevailing Winds in December of 2003. In 2005, Davis was a recipient of a Fulbright Grant for study of baroque flute and performance practice with Wilbert Hazelzet at the Koninklijk Conservatorium in The Hague. Since then he has performed as a baroque flutist with early music ensembles ARTEK and Midtown Concerts in New York, The Bach Society and Lyra Baroque in Minnesota, and in recital with Barthold Kuijken.
Read more...
