Fabbriciani Botteon Damerini - Werke Fur Flute Und Klavier - Music & Performance - CD

When in 1781 Mozart moved to Vienna, he wrote to his father that he had come to the best place in the world for his profession. When Beethoven arrived there ten years later, Vienna was still a perfect place for a talented musician. In the imperial capital many aristocratic families provided opportunities to artists: concerts, commissions and the possibility to teach their children. In the same period in Vienna there was a large, prosperous middle-class who provided a market for new music publications, especially folk songs, dances and chamber music. The Serenade for flute, violin and viola (Op.25) composed by Beethoven between 1795 and 96, printed late in 1802 by Cappi in Vienna, was also published in Leipzig in 1803 by Hoffmeister & Kuhnel in the version for Serenade fur Flote und Klavier Op.41, D-Dur. In this second destination the part of the flute has remained unchanged while the piano appears to have had, according to the author, "small but substantial improvements". On commission from Scottish folk music collector George Thompson, Beethoven wrote no less than sixteen piano variations on traditional European folk melodies. Later, requested by the publishing house, he composed the Variationen uber Volkslieder fur Flote und Klavier Op.105. These variations of admirable difficulty for flute and piano with a simple but fascinating ad libitum in the part of the flute that, with minor modifications, was also performed with the violin. The Variationen fur Flote und Klavier Op.107, ten variations on national themes, are the last compositions that Beethoven wrote for George Thomson. Thomson's publications were intended for amateurs. He specifically asked Beethoven to keep the part for the instrument of the melody "simple but still bright, so that the greatest possible number of our ladies can play and enjoy them."