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Romantic

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Meyer-Olbersleben Max

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

Brahms, Johannes

Briccialdi, Giulio

Bruch, Max

Caplet, André

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

Elgar, Edward

Fauré, Gabriel

Foote, Arthur

Franck, César

Frühling, Carl

Fürstenau, Anton Bernhard

Gade, Niels Wilhelm

Ganne, Louis

Génin, Paul Agricole

German, Edward

Glière, Reinhold

Godard, Benjamin

Gounod, Charles

Grandval, Clémence

Hahn, Reynaldo

Hüe, Georges Adolphe

Hummel, Johann Nepomuk

Jadassohn, Solomon

Kohler, Ernesto

Kreisler, Fritz

Kuhlau, Friedrich

Lefebvre, Charles Edouard

Liszt, Franz

Maier, Amanda

Massenet, Jules

Mendelssohn, Fanny

Mendelssohn, Felix

Mercadante, Saverio

Meyer-Olbersleben, Max

Molique, Wilhelm Bernhard

Morlacchi, Pietro

Mouquet, Jules

Nielsen, Carl

Paganini, Niccolo

Périlhou, Albert

Pierné, Gabriel

Popp, Wilhelm

Rabboni, Giuseppe

Reger, Max

Reichert, Matthieu Andre

Reinecke, Carl Heinrich Carsten

Ries, Ferdinand

Rietz, Julius

Rossini, Gioacchino

Saint-Saëns, Camille

Sarasate, Pablo de

Schubert, Franz

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

Fantaisie-Sonate for flute and piano, Op. 17

Fantaisie-Sonate for flute and piano, Op. 17

By Meyer-Olbersleben Max

Max Meyer-Olbersleben: Fantaisie-Sonate for flute and piano, Op. 17 was published in 1883 in Leipzig by Fritz Schuberth, Jr. The piece is dedicated to Wilhelm Tieftrunk, a prominent German flutist of the late 19th century, the principal flutist of the Hamburg Philharmonic. Meyer-Olbersleben most likely dedicated the piece to Tieftrunk to secure a high-profile performance from one of Germany's leading virtuosos, ensuring the work's technical demands were met by an acclaimed virtuoso. In addition to this sonata, other major flute works were dedicated to him, including Joachim Andersen's "Concert Piece" for Flute and Orchestra, Op. 3, and Karl Krüger's "Suite for Flute and Piano".
As a "Fantaisie-Sonate," the work blends the formal structure of a sonata with the improvisational freedom of a fantasy. It is noted for its powerful and moving musical content, particularly the "Bacchanale" third movement, which is often performed as a standalone showpiece.

Michel Moragues

Kyoko Nojima (piano), 2009, Saphir Productions / Orchard

1. Lebhaft

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Michel Moragues

Kyoko Nojima (piano), 2009, Saphir Productions / Orchard

2. Standchen

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Michel Moragues

Kyoko Nojima (piano), 2009, Saphir Productions / Orchard

3. Bacchanale

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Hans-Udo Heinzmann

Elisaveta Blumina (piano), 2005, Genuin / Naxos

1. Lebhaft

00:00
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Hans-Udo Heinzmann

Elisaveta Blumina (piano), 2005, Genuin / Naxos

2. Standchen

00:00
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Hans-Udo Heinzmann

Elisaveta Blumina (piano), 2005, Genuin / Naxos

3. Bacchanale

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Meyer-Olbersleben Max

Max Meyer-Olbersleben (1850–1927) was a distinguished German composer, pianist, and influential music educator of the late Romantic era.
Born in Olbersleben, Saxe-Weimar-Eisenach, he later appended his birthplace to his surname to distinguish himself. He initially studied piano with the legendary Franz Liszt in Weimar and then continued his piano and composition studies with Carl Reinecke in Leipzig. This training with two of the most famous keyboard pedagogues of the 19th century is reflected in the demanding and sophisticated piano writing found in works like the Fantaisie-Sonate, Op. 17.
His composition and counterpoint studies with Reinecke allowed him later to get a position of Professor of Counterpoint and Composition at the Würzburg Conservatory.
In 1877, he became a professor at the Königliche Musikschule (Royal Music School) in Würzburg, where he eventually served as Director from 1907 to 1920. Under his leadership, Würzburg became a major center for German music education.
Overall, his education placed him at the heart of the "New German School," though his own style remained rooted in Romantic lyricism. His music is characterized by its melodic richness, formal clarity, and technical brilliance. He was a master of the "Salon" and "Fantasy" styles, often blending traditional sonata structures with improvisational freedom.
During his lifetime, he was highly regarded for his choral works and Lieder, which were frequently performed by German singing societies.