Carl CZERNY (1791 – 1857)
Music for Flute and Piano
Trois Rondeaux faciles et brillans, concertans sur les motifs favoris
de Rossini et Bellini, Op. 374 [23:37]
Introduzione, Variazioni e Finale in C major, Op. 80 [17:56]
Rondoletto concertant in F major, Op. 149 [10:04]
Duo concertante in G major, Op. 129 [26:26]
Kazunori Seo (flute), Makoto Ueno (piano)
rec. 2014, Grand Auditorium, Mie Centre for the Arts, Tsu, Mie
Prefecture, Japan
NAXOS 8.573335 [78:20]
Carl Czerny was one of those child prodigies that music history has seen
with so many – many of them quickly vanishing into oblivion once they grew
up. Czerny's name is still fairly well-known for several reasons: he
became Beethoven’s pupil when he was ten and performed many of the master’s
works. He became a highly respected teacher — his most famous pupil was
Franz Liszt — and he wrote copious quantities of music. His piano etudes
have been plodded through by several generations of piano students, but he
also composed choral music, symphonies, concertos, songs, string quartets
and other chamber music, most of which was never published. His opus list
encompasses 861 numbers. Today it is possible to get a fairly good overview
of his oeuvre through recordings, including several symphonies.
The music for flute and piano confirms the view that he wasn’t a
particularly remarkable composer. While he may have been no barnstormer he
was certainly skilled and inventive and wrote good melodies. In the
Trois rondeaux from 1836 he culled themes from popular operas of
the day and made variations on them. The first piece has as its main theme
Elvino’s aria from act II of Bellini’s
La sonnambula and the
following two borrow from Rossini and then again from Bellini. Everything is
elegant and fluent but the accompaniments sometimes tend to be rather
monotonous. This is not very deep music but it is highly entertaining and in
the last of the pieces the flautist has rich opportunities to showcase his
considerable technical prowess. A truly charming divertimento.
The somewhat earlier
Introduzione, Variazioni e Finale in C
major, Op. 80 from 1825 is more serious and partly dramatic work – but no
less virtuosic. There are seven variations and the sixth of them is in a
minor key, where one can feel a more personal, more contemplative touch.
This impression is dispersed by the seventh – again overtly dramatic – and
then, after a kind of cadenza comes a brilliant finale. A
tour de
force for both musicians.
The
Rondoletto (1827) is more light-hearted and the virtuoso
element is again much to the fore. The
Duo concertante in G major
Op. 129 was published in 1827 in Vienna by Diabelli. It is a four-movement
work on a rather grand scale with an opening sonata movement that is by far
the longest. The short scherzo, charming and playful, has hardly begun
before it is over. The andantino is quite forward-moving and less of a
contrast than one could expect. The main theme of the rondo finale is jolly
and jaunty. This atmosphere is preserved throughout the movement and brings
the composition to a sparkling end.
I am full of admiration for the superb playing of both musicians and the
excellent recording makes this a strongly recommendable disc for all lovers
of flute music.
Göran Forsling
