Franz Schubert
Works for Flute and Piano
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GEN 88124 EAN: 4260036251241
25.4.2008Special offer18.90 € 16.90 €
Franz Schubert wrote a cycle of variations for flute and piano based on his own lied, “Trockene Blumen” (Dried Flowers) from “Die Schöne Müllerin” (The Beautiful Miller’s Daughter). Flutist Felix Renggli and pianist Mikayel Balyan have made up for the fact that he didn’t write more music for this wonderful combination on this new GENUIN CD, quietly but with all the more inspiration and impressiveness. They make so much out of the A-minor Sonata originally conceived for violin that one forgets the title “Sonatina,” by which the work is generally known amongst string players. The sad cheerfulness of the A-major Sonata (also originally for violin and piano) goes to heart so directly that one no longer thinks about the question of “original” and “adaptation.” And the “Dried Flowers“? Listen for yourself to how Renggli and Balyan make it clear that for Schubert, the human voice was the soul of all music …
"... the music at a Schubertiade could have sounded like this ..." (Fono Forum 11/2008)
Audio Player
Tracklist
- Franz Schubert
Variations on "Trockene Blumen", D 802 from "Die schöne Müllerin" (D 795)
Introduktion - Thema
- Variation 1
- Variation 2
- Variation 3
- Variation 4
- Variation 5
- Variation 6
- Variation 7
- Franz Schubert
Sonatina in A Minor for Violin (Flute) and Piano, D 385
Allegro moderato - Andante
- Menuetto
- Allegro
- Franz Schubert
Sonate in A Major for Violin (Flute) and Piano, D 574
Allegro moderato - Scherzo
- Andantino
- Allegro
Franz Schubert wrote a cycle of variations for flute and piano based on his own lied, “Trockene Blumen” (Dried Flowers) from “Die Schöne Müllerin” (The Beautiful Miller’s Daughter). Flutist Felix Renggli and pianist Mikayel Balyan have made up for the fact that he didn’t write more music for this wonderful combination on this new GENUIN CD, quietly but with all the more inspiration and impressiveness. They make so much out of the A-minor Sonata originally conceived for violin that one forgets the title “Sonatina,” by which the work is generally known amongst string players. The sad cheerfulness of the A-major Sonata (also originally for violin and piano) goes to heart so directly that one no longer thinks about the question of “original” and “adaptation.” And the “Dried Flowers“? Listen for yourself to how Renggli and Balyan make it clear that for Schubert, the human voice was the soul of all music …
"... the music at a Schubertiade could have sounded like this ..." (Fono Forum 11/2008)