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PhD Student
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
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Tel: (+351) 234 370 389 (ext. 23700)


Dedicated to interpretation, teaching and artistic research. Carmen Fuentes started her musical studies at Agrupación Musical L’Amistat de Quart de Poblet. She further completed higher education studies, specialisation in flute, at the Conservatorio Superior de Música “Joaquín Rodrigo” de Valencia. She continued her flute training with Juana Guillem and later with Benoît Fromanger and Marcos Fregnani. She participated in masterclasses with Pierre-Ives Artaud, Peter Lukas Graf, Vicens Prats, Peter Lloyd, Riccardo Ghiani and Salvador Martínez. Carmen found the baroque flute in training courses with Wilbert Hazelzet and later participates in courses with Professor Peter Thelheimer, working with historical flutes ensemble.
She obtained the Masters degree in Historical Interpretation, specialisation in baroque flute, and the Masters degree in Instrumental Pedagogy at Hochschule für Musik de Nürnberg, obtaining the highest marks.
Since 2002, she is a faculty member of Music and Performing Arts at Generalitat Valenciana. She taught musical pedagogy seminars, organised by Goethe Institut, at La Paz (Bolivia) and Lima (Peru). 
She participates in chamber music festivals in Nürnberg, Erlangen, Banz, as well as symphonic concerts with members of the Bamber Symphonic Orchestra. She recorded several baroque music CDs with historical instruments with the group Musica Trobada. 
She is currently a PhD student of the Doctoral Programme in Music (Performance) at the University of Aveiro, Portugal. In 2017 and 2018, she participated in the artistic research conferences Hands on Flute in Aveiro. In 2019, she participated in the II Congrès Doctoral de musique et musicologie de la Universidad La Sorbonne, Paris, and also in the Symposium “Correct, but not beatiful. Performance II”, organised by the University of Sidney in September 2019. 
Ciência Vitae | ORCID

Not only Böhm: Alternative flutes to the Böhm system in Germany at the end of the s. 19th and early 20th


Pedro Couto Soares e Jorge Salgado Correia


The flutes of Maximilian Schwedler (1853-1940) constitute an important chapter in the development of the transverse flute in Germany, where the sound of the Böhm system flute (1847) was not accepted. Following the sound tradition of the old system flutes, built in wood and with a conical tube, Schwedler builds its 1885, 1895 and 1898 models, which represent the last link of the old flutes. With them he intended to compete in sound volume and technical ease with the Böhm system flute, but without losing the soft sound and rich in timbral nuances of the old ones.
My objective is, through Artistic Research, to create a sound document through the peculiarities that these flutes offer, to discover the sound modulations that describe the sources of the historical moment and to search for my own sound with them. At the same time, I look for the characteristics of the written repertoire for these flutes in order to configure a recital program as the sound result of this research.