SCHUBERT – REINECKE – VON WEBER – GUY RAFFALLI, FLÖTE – ADALBERTO MARIA RIVA, KLAVIER
Franz SCHUBERT : Introduction and variations for Flute and Piano, Op. Posth. 160, D. 802: No. 1, Introduction: Andante – No. 2, Thema: Andantino – No. 3, Variation No. 1 – No. 4, Variation No. 2 – No. 5, Variation No. 3 – No. 6, Variation No. 4 – No. 7, Variation No. 5 – No. 8, Variation No. 6 – No. 9, Variation No. 7: Allegro – Carl REINECKE : Flute Sonata, Op. 167, « Undine »: I. Allegro – II. Intermezzo: Allegretto vivace – III. Andante traquillo – IV. Finale: Allegro molto agitato ed appassionato, quasi presto – Carl-Maria von WEBER : Piano Sonata No. 2 in A-Flat Major, Op. 39, J. 199: I. Allegro moderato con spirito ed assai legato – II. Andante – III. Menuetto capriccioso: Presto assai – IV. Rondo: Moderato e molto grazioso.
Guy Raffalli, Flöte – Adalberto Maria Riva, Klavier.
Carl-Maria von Weber, The pianist virtuoso
In 1810, banished for life with his father from Wurtenberg (summons for 42 ﬁnancial claims) Carl-Maria von Weber starts an itinerant career as pianist virtuoso crossing the whole empire as far as Switzerland (1811) and offering him the opportunity to have his operas played and to compose numerous leader.
His travels allowed him to mix with the greatest artists of his time : Tieck, E. T. A. Hoffmann, Louis Spohr, Goethe and Wieland, Schubert, Beethoven… Weber who was curious and receptive could then create a style marked by his time as well as original.
He will become one of the most outstanding pianists virtuoso of his time. The press will compare him to Hummel or Moscheles. The very particular morphology of his hands allowed him to play and compose a difﬁcult repertory, a virtuoso one. According to Lenz, he succeded to emancipate the instrument from the united Kingdom of the organ and the harpsichord and to transform it into the piano alone ». Always according to Lenz in « The Great Piano Virtuoso » of 1872 « the knightly sonatas of Weber are the happiest and most rewarding expression of the instrument as such.
The piano of Carl-Maria von Weber is emancipated from the quartet as well as from the symphony, it is an autonomous self-sufﬁcient piano, conscious of itself, the piano of the modern school, it opened the doorsjust in the way Liszt and Chopin used the instrument ».
The majority of his works submits to the necessities of virtuosity and its effect. But because of this very virtuosity (linked to his talent and the morphology of his hands) his compositions often suffer from the construction of the work which prevents a real inner logic. Therefore the works presenting a perfect integration of this transcendant technique to the global coherence of the score are rare.