Andante E Rondo

[Violet Mcdow]

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Albert Franz Doppler (1821 - 1883) was a flute virtuoso and a composer best known for his flute music. Taught by his composer and oboist father, Joseph, Franz made his Vienna debut as a flutist at the age of 13 and embarked on several concert tours, often accompanied by his younger brother Karl, also a highly accomplished flutist and composer.

This andante and rondo (Op. 25) was composed to showcase the talents of the Doppler brothers during one of their many tours. A flashy showpiece, the long melody of the Andante sweeps and soars in a dramatic fashion with rich harmonies in the two flutes, while the Rondo features complex rhythmic layers, and has the cheek and drive of a Hungarian gypsy dance.

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Albert Franz Doppler, following the example of Paganini, was both a composer and a virtuoso performer. Taught by his composer and oboist father, Joseph, Franz made his Vienna debut as a flutist at the age of 13 and embarked on several concert tours, often accompanied by his brother Carl, also a highly accomplished flutist and composer. In 1853, Doppler, his younger brother, Karl, and Ferenc Erkel were all involved in establishing the first Hungarian symphony orchestra. Doppler is most famous for his works for flute, including Fantaisie pastorale hongroise and Andante et Rondo. Andante et Rondo, composed in 1874, is written for two flutes and piano. This piece is no exception to the Hungarian influence present in many of Doppler s works. The first movement consists of traditional romantic lyricism while the second movement is a jaunty, light-hearted rondo.

All three ronds constitute each one of two dipticos, with a slow section and a fast one. ISong of the Day I bring the interpretation of Giacomo Susani do Rond n2, the second work published in his Op2, performing in a Domingos Esteso guitar of 1926.

The Andante is a small slow piece in three parts. Which the first theme is attacked at first, followed by a variation at 0:39 seconds. In 1:13 we have the passage to a second theme, with a little Cadenza in 1:27. In 1:41, theme B appears on the C major chord, with the coda in 2:10 which brings us to the end of this first piece.

In 2:28 the begins in fact, with a theme that reminds us of another rondo, the first movment of Beethoven's pathetic sonata. in Aguado, part A with a repetition. The second theme comes in at 2:51 also with repetition, B. The third theme appears at 3:14, followed by a sequence of new melodic themes and materials, I'll call it a large third section (C). In fact a simplification of what can also be interpreted as a set of new sections, connected with virtuosic passages. until the Cadenza in 5:13, which takes us back to the first theme.

The first theme, A, reappears at 5:50, without repetition, followed by the theme of section B at 6:00. In 6:10 we have the fourth section with new themes. I'll call (D). We can notice a second Cadenza in 8:10, a passing section with scale sequences and arpeggio as in the previous one. A and B resurface at 8:30, taking us to Coda, with the melodic material of B, and the end of this Op2, N2.

Traditionally, the Cadenzas apply to the concerts for solo instrument and orchestra, has improvisatory and virtuosic character, here I called Cadenzas the passages between the sections that maintain this characteristic.

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Carl Maria von Weber, composed the Andante e Rondo Ongarese, Op. 35, initially for viola and orchestra in 1809. Later, in 1813, Weber reworked the piece for bassoon and orchestra following the success of his Bassoon Concerto.

The work consists of two movements, seamlessly interconnected yet contrasting in character. The first movement, Andante, set in the somber key of C minor, unfolds with a lyrical and expressive quality. Weber's use of the viola allows for a rich exploration of the instrument's capabilities, revealing both its melodic and expressive qualities

The second movement, Allegretto, in key of C major, introducing a lively and spirited theme. The playful and dance-like character of the rondo is enriched by Weber's use of Hungarian elements, reflecting the influence of the popular "ongaresque" style in European music during the early 19th century. The rhythmic vitality and infectious energy of this movement contribute to the overall charm of the composition.

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