Eileen Gilligan Flute and Daniel Le Piano – All I Ask of You

The Phantom of the Opera music was written by Andrew Lloyd Webber, lyrics by Charles Hart, additional lyrics by Richard Stilgoe and a libretto by Lloyd Webber and Stilgoe. Based on the 1910 French novel by the same name by Gaston Leroux, it tells the story of a beautiful soprano, Christine Daae who becomes the obsession of a mysterious, masked musical genius living in the subterranean labyrinth beneath the Paris Opera House.

The musical opened in London’s West End in 1986 and on Broadway in New York in 1988, in a production directed by Harold Prince and starring English soprano Sarah Brightman as Christine Daaé, screen and stage star Michael Crawford as the Phantom.

It was the longest running show in Broadway history.

All I ask of you with Sarah Brightman. All the inspiration any one could need.

The important aspect and most beneficial result of learning this is the control of the speaking point of the flute, airstream, flexibility and the resonance that comes with the voice and the flute meeting. The phrasing success revolves around the second register A’s. If the player is not open in the throat, mouth and nasal cavity then the A’s will be thin and squashed. This is why it is so important to sing as much as one can and join your voice to the flute, it gives an incredible result and just keeps on keeping on, developing and giving.
All I Ask Of You has to be one of the most beautiful and expressive vocalisations I have played. It is up there with Somewhere Over the Rainbow which I have also recorded this session. It has been worth every minute I spent on it. Mastering these pieces enables playing a more difficult piece so much easier as the control is already there in so many ways. I also recorded the Undine Sonata by Reinecke which really is a big tone piece. So many of the sections came so easily to me because of the work I did before I played the piece. I really just had to practice the runs and be aware of what is happening all the time musically.
I see why Moyse was so passionate about ” if the singers and the strings can do it why can’t we”. Its because the inflections, subtle colour and expression can’t be attained from blowing the flute. It has to be part of the player, hence the big lean towards Alexander Technique.
Three Tone Developments a day and one or two vocalisations as well as a couple of melodious studies will do wonders for the playing and player, best tonic in the world.
The other important aspect and benefit of learning these pieces is it gives the player a chance to practice keeping the fingers close to the keys and playing with soft expressive finger touch. This makes a big difference to tone production, nothing worse than fingers banging about the instrument, interferes with the air stream. It does take awareness and focus to master but is worth it.
I have attached my file of melodious Study No 8 which I feel reflects the skills need for All I Ask Of You. The full guide is on the website. To master this study there has to be resonance which is carried through and openess through to the upper register as well. Very similiar techniques used in both the study and All I Ask Of You.
One of the most beautiful flute sounds has to be Rampal’s his famous quote is, ” the fingers anyone can do, the tone it is not so easy” this always stays in my mind. He is right but there is a formula that everyone can benefit from and its on the website.  If time is given daily to the basic Foundation Tools and the player listens and is discerning , anyone can have a beautiful tone, it just takes time and focus.
Have a wonderful week ahead and enjoy All I Ask Of You.

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