Musicology Annotation << Back Features of using traditional Chinese flute playing techniques in P.-A. Genin’s «Carnaval of Venice» for flute and piano op. 14 (near 1857) Lian Yicen The article deals with features of using traditional Chinese flute playing techniques in European classical und romantic pieces’ performing. As an example of traditional Chinese instrumental playing methods adaptation to musical text of the 2nd half of nineteenth century the one of the most frequently performed piece, favourite by all modern flutists – «Carnaval of Venice» by Paul-Agricole Genin – is given. This opus compares with its prototype – Niccolo Paganini’s piece with the same name which is popular among both of performers and composers of nineteenth century. An evident analogy between these pieces such as similar musical subject, variation form, instruments of musical expression gives us an opportunity to recognize Genin’s opus as a skilful transcription of Paganini’s fantasy. A short characteristic of Genin’s piece – its form, harmony, melody features, variation type, technical difficulties – is given. Most attention is paid to the last variation because of using «double tonguing» technique. The problem of reading original musical text of this piece made for European flute while playing Chinese bamboo flute with its construction specialities is outlined. A list of Chinese flute playing techniques is given to help the performer level the difference between bamboo and orchestral types of flute. Keywords: «Carnaval of Venice», Paul-Agricole Genin, Niccolo Paganini, chinese bamboo flute, flute playing techniques, double tonguing, Shinichi Suzuki, Toshio Takahashi. DOI: 10.25791/musicology.10.2019.953 Contacts: - Pp. 31-40.