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
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.
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.