LA FLUTE ENCHANTÉE: Original Works for Soprano, Flute and Piano
NOVEMBER 2017: Fürstenau: Liebesruf Op.141, Die Flöte, Kummer: Von Dir!, Benedict: Canzone “La Capinera”, Ciardi: Scherzo “L’usignolo”, Saint-Säens: Une flûte invisible, Hugues: Romanza “L’Augellino e il Poeta”, Chaminade: Portrait (Valse Chantée), Georges Hüe: Soir païen (from Chansons Lointaines), Koechlin: Le Nénuphar (from Poèmes d’automne, Op.13), Patinant-souriant (from Premier album de Lilian Op.139), Ravel:La Flûte enchantée (from Shéhérazade), Caplet: Viens! Une flûte invisible soupire
(b Münster, 20 Oct 1792; d Dresden, 18 Nov 1852). Flautist and composer, son of (1) Caspar Fürstenau. A pupil of his father, he made his first public appearance as a flautist in Oldenburg at the age of seven and became a member of the Oldenburg court orchestra in 1804. His frequent concert tours with his father took him to Berlin, Frankfurt, Munich, Vienna, Copenhagen and Prague, where he met Carl Maria von Weber in 1815. Partly owing to his wish to settle down and partly on account of his father’s poor health, he accepted an appointment to the Frankfurt town orchestra in 1817; there Johannes Vollweiler gave him further lessons in composition. The year after his father’s death he moved to Dresden, where he became first flautist under Weber’s direction. He continued to make numerous concert tours, and in 1826 he accompanied Weber to Paris and London; although he performed in London, Fürstenau cancelled his benefit concert because of Weber’s illness.
Fétis and others praised Fürstenau’s playing for its dexterity and expressiveness; only in England did he have a poor reception, his execution being praised but his tone criticized as inferior to that of Nicholson. He continued to play on the old-fashioned flute; in his Kunst des Flöten-Spiels op.138 (Leipzig, 1909), he voiced his opposition to the new flute and its monotonous sound. A prolific composer for the flute, he wrote variations and rondos on popular opera themes by Weber, Meyerbeer, Halévy, Bellini and others. His concertos exhibit virtuoso writing and an operatic influence in their themes and style; other works for flute, however, show the influence of Weber.