Classical
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Hartmann Johan Peter
Beethoven, Ludwig van
Cambini, Giovanni Giuseppe
Campagnoli, Bartolomeo
Devienne, François
Gluck, Christoph Willibald
Gossec, Francois-Joseph
Graf, Friedrich Hartmann
Grétry, André Ernest Modeste
Hartmann, Johan Peter
Haydn, Franz Joseph
Haydn, Johann Michael
Hoffmeister, Franz Anton
Hugot, Antoine
Hummel, Johann Nepomuk
Jadin, Louis-Emmanuel
Lebrun, Ludwig August
Mozart, Wolfgang Amadeus
Müller, August Eberhard
Nicolai, Johann Gottlieb
Piccinni, Niccolò
Pleyel, Ignace Joseph
Rault, Felix
Reicha, Josef
Romberg, Bernhard
Rosetti, Francesco Antonio
Schwindel, Friedrich
Stamitz, Anton
Stamitz, Carl Philipp
Wagenseil, Georg Christoph
Wendling, Johann Baptist
Wunderlich, Johann Georg
Sonata in B Major for flute and piano Op. 1
Johan Peter Hartmann: Sonata in B Major for flute and piano, Op. 1 was written in 1825. The piece is dedicated to Friedrich Kuhlau, who was the undisputed "Beethoven of the Flute" in Copenhagen at the time. This dedication was a bold statement of respect from a young composer toward his mentor and senior colleague.
The first documented public performance took place in 1826 in Copenhagen, with the flautist Peter Christian Bruun (a prominent soloist in the Royal Danish Orchestra) and the composer at the piano.
Kuhlau’s presence in Copenhagen was the single greatest influence on this sonata. Kuhlau had brought the high-Classical style of Beethoven and Weber to Denmark.
1825 was a "threshold year" in Northern Europe. The rigid structures of the Mozart era were giving way to early Romanticism. While Op. 1 is technically a Classical sonata, it features virtuosic piano writing that rivals the flute part, reflecting Hartmann’s own prowess as a keyboardist and the influence of the burgeoning "virtuoso era."
In 1825, Hartmann was just 20 years old law student at the University of Copenhagen. Since he came from a long line of musicians (his grandfather was the composer Johann Hartmann), his musical output was so high-quality that he was already being hailed as the future of Danish music. The period surrounding Op. 1 marks the emergence of the "Hartmann Dynasty" in Danish music.
Katrine Kielland-Brandt (flute), Jørgen Ellegård Frederiksen (piano), 2017, Paula / Orchard
1. Allegro vivace
Katrine Kielland-Brandt (flute), Jørgen Ellegård Frederiksen (piano), 2017, Paula / Orchard
2. Andante
Katrine Kielland-Brandt (flute), Jørgen Ellegård Frederiksen (piano), 2017, Paula / Orchard
3. Scherzo. Allegro molto vivace
Johan Peter Hartmann (1805–1900) was a Danish composer, the central figure of the Danish Golden Age, and the patriarch of a musical dynasty that dominated Denmark's cultural life for over a century. Known as the "Nestor of Danish Music," his career spanned from the late Classical era of Kuhlau to the early Modernism of Carl Nielsen.
Born in Copenhagen, in a family of profound musical heritage. He was the son of August Wilhelm Hartmann, the organist at Copenhagen's Garrison Church, and the grandson of Johann Hartmann, a German-born composer who emigrated to Denmark.
He received his primary musical education from his father, showing such early proficiency on the violin and piano that he was performing in public by his teens. Despite his obvious talent, his father insisted on a stable profession. Hartmann studied Law at the University of Copenhagen, graduating in 1828. He maintained a dual career as a civil servant and a musician until his musical success made the former unnecessary.
A pivotal element of his youth was his relationship with Friedrich Kuhlau. Hartmann was not only Kuhlau's student but also a close colleague. Kuhlau's influence is most evident in Hartmann's early instrumental works, such as the Sonata for Flute and Piano, Op. 1, which adopted the virtuosic, structural rigor of the Viennese style. He served as the organist at the Church of Our Lady (Copenhagen Cathedral) for 57 years and was a founding director of the Royal Danish Academy of Music. His influence extended through his son, Emil Hartmann, and his son-in-law, Niels Gade, creating a cohesive school of Danish composition.
Hartmann's partnership with Hans Christian Andersen provided mutual artistic elevation. Andersen provided the romantic, often dark, and folk-inspired imagery, while Hartmann provided the "Nordic Tone", a musical language that felt ancient, noble, and distinctly Scandinavian. Their partnership spanned decades and produced several operas (Liden Kirsten; The Raven), cantatas, and songs.