1. Introduction et Caprice sur des Airs Hongroises, Op.58*
2. Fantaisie Caractéristique, Op.16*
3. “Wien Neerlands Bloed” Fantaisie uber die Holländische Volkshymne, Op. 35
4. Concertstûck, Op. 3
5. Tarantella, Op. 10*
* While Joachim Andersen composed each of the pieces on this recording for flute with orchestra, the scores and orchestral parts for op. 58, op. 16, and op. 10 could not be located. Therefore, Flemming Neergård Pedersen re-orchestrated these three pieces using Andersen’s piano reductions.
Joachim Andersen (1847-1909) ©
By Kyle Dzapo/Thomas Jensen (trans.)
One of the finest flutists of the late nineteenth century will always be celebrated as the composer of 188 etudes that form the core of every flutist’s education. Andersen’s remarkable musical career led him from prestigious positions in Denmark, through Russia, to Germany where he became a founding member, principal flutist, and assistant conductor of the Berlin Philharmonic Orchestra. He spent 11 glorious years in Berlin, playing under Brahms, Grieg, Strauss, Tchaikovsky, and von Bülow and enjoying fame as one of the orchestra’s favorite soloists. In later years, Andersen returned to Copenhagen and immersed himself in developing the musical life of his nativecity. He founded the Palace Concerts, developed an orchestra school for young musicians, and, in 1898 became conductor of the renowned Tivoli Orchestra. A strong, demanding leader his tough exterior did nothing to endear him to his musicians, but his admirably high standards and enormous capacity for work earned their respect and elevated Denmark’s cultural life at the turn of the century.
In February 1894, just after returning to Copenhagen, Andersen signed a contract with publisher Wilhelm Hansen for a new work, Introduction et Caprice Sur Des Airs Hongroises (lntroduction and Caprice on Hungarian Themes), op. 58. As the 47-year-old scrambled to rekindle his musical career in the city he’d left 16 years earlier, he was anxious to solidify his professional relationship with Hansen, Denmark’s leading music publisher, and eager to launch new compositions and conducting projects. He completed 0pus 58 the following year, dedicating it to Emil Prill, principal flutist of the Berlin Royal Opera and one of his most successful students.
The piece begins with a long rhapsodic introduction. Andersen loved this type of opening: Opus 16,Opus 35, and Opus 3 on this recording begin similarly. Following the theme are five melodic variations. Andersen often featured variations as the center piece of extensive works, although he demonstrated in his Opus 61, composed shortly after 0pus 58, that he was also capable of writing a full-blown development. Frequently in Andersen’s music, one hears the influence of Liszt, whose works defined the popular perception of Hungarian music at the time. As in the “Hungarian” fantasy of his Fantaisies Nationales, Op.59, Andersen includes a quotation from one of Liszt’s Hungarian Rhapsodies, this time No. 14, and also elements of the verbunkos, a slow-fast pair of dances used by composers seeking to capture the Hungarian spirit.
Just after completing his first collection of etudes, dedicated to his father, Andersen composed Fantaisie Caracteristique, 0p. 16, for his younger brother, Vigo, another virtuoso flutist. Again, he incorporates a theme and variations into a larger fantasy. His inventive use of figuration in the variations reminds us of his brilliant etude-writing, and we hear again Liszt’s gestures and moods, though here without the nationalistic flavor.
RELEASE DATE: November 2007
CATALOGUE NUMBER: DACOCD 658
EAN: 570949965800
