Romantic
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Solo repertoire
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Kuhlau Friedrich
Akimenko, Theodore
Albeniz, Isaac
Andersen, Joachim
Barnett, John Francis
Bazzini, Antonio
Beach, Amy
Bellini, Vincenzo
Bizet, George
Blahetka, Leopoldine
Blodek, Wilhelm
Boehm, Theobald
Bonis, Mel
Borne, François
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Briccialdi, Giulio
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Chaminade, Cécile
Chopin, Frédéric
Danzi, Franz Ignaz
Debussy, Claude
Demersseman, Jules-Auguste Edouard
Donizetti, Gaetano
Donjon, Johannes
Doppler, Albert Franz
Du Puy, Édouard
Dvořák, Antonin
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Foote, Arthur
Franck, César
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Fürstenau, Anton Bernhard
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Ganne, Louis
Génin, Paul Agricole
German, Edward
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Gounod, Charles
Grandval, Clémence
Hahn, Reynaldo
Hüe, Georges Adolphe
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Jadassohn, Solomon
Kohler, Ernesto
Kreisler, Fritz
Kuhlau, Friedrich
Lefebvre, Charles Edouard
Liszt, Franz
Maier, Amanda
Massenet, Jules
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Meyer-Olbersleben, Max
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Paganini, Niccolo
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Pierné, Gabriel
Popp, Wilhelm
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Reger, Max
Reichert, Matthieu Andre
Reinecke, Carl Heinrich Carsten
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Rietz, Julius
Rossini, Gioacchino
Saint-Saëns, Camille
Sarasate, Pablo de
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Schumann, Clara
Schumann, Robert
Sibelius, Jean
Silcher, Friedrich
Strauss, Richard
Taffanel, Claude Paul
Tulou, Jean-Louis
Vitali, Tomaso Antonio
Wagner, Siegfried
Widor, Charles Marie Jean Albert
Introduction and Variation on Theme by C.M.V. Weber's "Euryanthe", Op. 63
Fantasie for flute solo in D Major, No 1, Op. 38
Fantasie for flute solo in B-flat Major, No 2, Op. 38
Fantasie for flute solo in C Major, No 3, Op. 38
"Grand solo" for flute No. 1 in F Major, Op. 57
"Grand solo" for flute No. 2 in A minor, Op. 57
"Grand solo" for flute No. 3 in G Major, Op. 57
Introduction and Variation on Theme by C.M.V. Weber's "Euryanthe", Op. 63
Grande Sonate in E-Flat Major, Op. 64
Divertissement No 1 for flute solo, Op. 68
Divertissement No 2 for flute solo, Op. 68
Divertissement No 3 for flute solo, Op. 68
Divertissement No 4 for flute solo, Op. 68
Divertissement No 5 for flute solo, Op. 68
Divertissement No 6 for flute solo, Op. 68
Flute Sonata in G-Major, Op. 69
Flute Sonata in E-Minor, Op. 71
Flute Sonata in F Major, Op. 79
Flute Sonata No 1 in G-Major, Op. 83
Flute Sonata No 2 in C-Major, Op. 83
Flute Sonata No 3 in G-Minor, Op. 83
Grande Sonate Concertante in A Minor, Op. 85
Fantasie for flute solo in G Major, No 1, Op. 95
Fantasie for flute solo in E Minor, No 2, Op. 95
Fantasie for flute solo in D Major, No 3, Op. 95
Introduction and Rondo "La Colporteur", Op, 98a
Variations on "The Last Rose of Summer" for flute and piano in G Major, Op. 105
Friedrich Kuhlau: Introduction and Variation On Theme by C.M.V. Weber's "Euryanthe", Op. 63 was written in 1824 and published in 1825 by Niels Christian Schiørring in Copenhagen.
The work is based on the aria "Unter blühenden Mandelbäumen" (Under blooming almond trees) from Carl Maria von Weber’s opera Euryanthe, which had premiered just a year earlier in 1823. During a celebration at King Louis VI's castle, Adolar, Count of Nevers, sings this beautiful tribute to the virtue and beauty of his betrothed, Euryanthe. This aria, often called Adolar’s Romanze or Minnelied, serves as a pivotal moment that kicks off the entire plot's conflict. Adolar's public praise provokes the villainous Count Lysiart, who mockingly claims that no woman, including Euryanthe, is truly faithful...
The flute piece is dedicated to Luiz de Lacerda, a Portuguese diplomat and amateur flutist who was part of the international circle of musicians and patrons Kuhlau cultivated in Copenhagen.
Kuhlau held Carl Maria von Weber in extremely high regard. By choosing a theme from Euryanthe, Kuhlau was "capitalizing" on the latest operatic craze while paying tribute to a contemporary. This was a savvy business move. Euryanthe was the "talk of the town" in European musical centers, and flutists were eager for transcriptions of its melodies.
In 1824, the demand for brilliant flute music for the "Dilettante" (wealthy amateur) market was peaking. Kuhlau used this piece to demonstrate that he could provide both high-art structures and popular, virtuosic entertainment. Additionally, Kuhlau was experimenting with the increasing technical possibilities of the multi-keyed flute. Op. 63 is significantly more difficult than his earlier variations, requiring rapid-fire articulation and large interval leaps that mirrored the "Paganini-style" virtuosity beginning to take over Europe.
Friedrich Kuhlau (1786-1832) was a German-born Danish composer of the late Classical and early Romantic periods. Often referred to as the "Beethoven of the Flute," he was central to the Danish Golden Age and instrumental in introducing Beethoven’s style to Scandinavia.
Born in Uelzen, Germany, in a military oboist family. At the age of seven, he suffered a fall while fetching water on a dark night, resulting in the loss of his right eye. This injury influenced his later decision to pursue music over other careers. Despite his family’s modest means, he showed immense talent. He studied in Hamburg with Christian Friedrich Gottlieb Schwenke, the successor to C.P.E. Bach, who provided him with a rigorous foundation in counterpoint and theory.
In 1810, Kuhlau fled Hamburg to avoid conscription into Napoleon’s invading army. He settled in Copenhagen under an assumed name, eventually becoming a naturalized Danish citizen in 1813. He settled down in Denmark, became a Danish citizen, and wrote most of his works there, thus becoming one of the most prominent Danish composers, known also as Frederick Kulav.
He was appointed a non-salaried chamber musician to the Danish court in 1812, eventually becoming the Court Composer in 1818.
Although Kuhlau is famous for his flute music, he was primarily a virtuoso pianist. Although making to believe that he played flute as well (he didn't). He wrote for the flute because it was the most popular instrument for amateur music-making at the time, providing him with a steady income through sheet music sales to publishers like C.F. Peters.
In 1825, Kuhlau visited Ludwig van Beethoven in Vienna. The two spent a famously jovial afternoon drinking and exchanging musical puns, which resulted in a canon (WoO 191) written by Beethoven on the name "Kuhlau."
His incidental music for the play Elverhøj (The Elf’s Hill, 1828) is considered a Danish national treasure and remains the most performed work in the history of the Royal Danish Theatre.