Showpiece variations, folksongs, little-known trios and an early masterpiece: an unrivalled survey of Beethoven’s flute writing in new recordings by experienced Italian chamber musicians.
Composer: Ludwig van Beethoven
Artists: Ginevra Petrucci (flute), Giovanni Aletta (piano), Gian-Luca Petrucci (flute), Francesco Bossone (bassoon), Mirei Yamada (violin) & Luca Sanzò (viola)
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Beethoven’s attitude to composition is exemplified by an 1806 letter to the Scottish publisher George Thomson: ‘I will endeavour to make these compositions as pleasant as possible, but to the extent that this can remain compatible with the perfection and originality of style which you yourself have judged to be favourable characteristics of my work and which I will never give up.’
Thomson wanted undemanding and commercially attractive folksong settings from a composer already across Europe. Beethoven wanted and needed the money, but he also knew his worth, and in any case compromise was a word only ever grudgingly admitted to his vocabulary. In writing his sets of folksong variations, the result always falls easily upon the ear while putting amateur musicians through their paces, technically speaking, and demanding far more of their expressive imagination than Thomson’s usual fare.
The other pieces here date from Beethoven’s earliest years as a composer in Bonn. The Trio for flute, bassoon and piano shows a strong Mozartian influence; the B flat Sonata for flute and piano is a striking example of the apprentice musician learning his craft and refining his voice, which emerges in the unexpected context of a modest Duo for two flutes. However, it is the seven-movement Serenade , scored for flute, violin and viola, where we find Beethoven most elegantly adapted to the role of ‘occasional’ composer. The idiom might be carefree and elegant, but the instruments cross swords, argue and find common ground with a nobility that is all Beethoven’s own.
Tracklist:
Flute Sonata in B-Flat Major, Anh.4:
0:00:00 I. Allegro
0:10:13 II. Polonaise
0:14:23 III. Largo
0:19:27 IV. Thema mit Variationen. Allegretto
6 National Folksongs with Variations, Op. 105:
0:26:04 I. Air ecossais in G Major. The Cottage Maid. Andantino quasi allegretto
0;29:07 II. Air ecossais in C Minor. Of Noble Stock Was Shinkin. Allegretto scherzoso
0:32:08 III. Air autrichien in C Major. A Schusserl und a Reindl. Andantino
0:38:43 IV. Air ecossais in E-Flat Major. The Last Rose of Summer. Andante espressivo assai
0:42:04 V. Air ecossais in E-Flat Major. Chiling O’Guiry. Allegretto spiritoso
0:44:45 VI. Air ecossais in D Major. Paddy Whack. Allegretto più tosto vivace
10 National Folksongs with Variations, Op. 107:
0:48:06 I. Tyrolian Air in E-Flat Major. I bin a Tiroler Bua. Moderato
0:52:50 II. Scottish Air in F Major. Bonny Laddie, Highland Laddie. Allegretto, quasi vivace
0:55:51 III. Russian Air in G Major. Volkslied aus Klein Russland. Vivace
1:01:34 IV. Irish Air in F Major. St. Patrick’s Day. Allegretto scherzoso
1:06:36 V. Tyrolian Air in F Major. A Madel, ja a Madel. Moderato
1:13:46 VI. Welsh Air in E-Flat Major. Peggy’s Daughter. Andante comodo
1:18:20 VII. Russian Air in A Minor. Schöne Minka. Andante
1:24:18 VIII. Scottish Air in D Major. O Mary, at the Window Be. Andantino quasi allegretto
1:26:56 IX. Scottish Air in E-Flat Major. Oh, Thou Art the Lad of my Heart. Allegretto più tosto vivace
1:31:49 X. Scottish Air in G Minor. The Highland Watch. Spiritoso e marciale
Duo for 2 Flutes in G Major, WoO26:
1:35:59 I. Allegro
1:39:14 II. Minuetto quasi allegretto
Trio for Piano, Flute and Bassoon in G Major, WoO37:
1:42:30 I. Allegro
1:54:27 II. Adagio
2:00:24 III. Thema andante con Variazioni
Serenade for Flute, Violin and Viola in D Major, Op. 25:
2:10:28 I. Entrata. Allegro
2:14:13 II. Tempo ordinario d’un menuetto
2:19:48 III. Allegro molto
2:22:07 IV. Andante con Variazioni
2:28:35 V. Allegro scherzando e vivace
2:30:43 VI. Adagio
2:32:01 VII. Allegro vivace e disinvolto
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