Composer: Friedrich Kuhlau
Works: Sonata for Flute and Piano in G major, Op. 83, No. 1; Sonata for Flute and Piano in C major, Op. 83, No. 2; Sonata for Flute and Piano in G minor, Op. 83, No. 3
Performers: Uwe Grodd (flute), Matteo Napoli (piano)
Recording: Recorded in the Michael Fowler Centre, Wellington, New Zealand, August 2000
Label: NAXOS
Friedrich Kuhlau, often overshadowed by his contemporaries, emerges as a pivotal figure in the evolution of early Romantic music, particularly through his contributions to the flute repertoire. His trio of sonatas for flute and piano, Op. 83, showcases an admirable blend of classical rigor and lyrical expressiveness. These works not only reflect the influence of Beethoven—a connection cemented by Kuhlau’s interactions with the composer—but also present a distinct voice that bridges the classical and romantic eras. The sonatas encapsulate Kuhlau’s ability to craft engaging melodic lines and intricate counterpoint, offering a fertile ground for performers to explore both technical prowess and emotional depth.
Uwe Grodd and Matteo Napoli deliver a robust interpretation of these sonatas, demonstrating a keen awareness of the stylistic nuances inherent in Kuhlau’s writing. Grodd’s flute playing is characterized by clarity and agility, particularly evident in the buoyant passages of the G major sonata. His articulation is crisp, allowing the intricate ornamentation to sparkle without overshadowing the underlying melodic structure. Napoli’s piano accompaniment is consistently supportive, yet assertive, particularly in the lively Allegro movements where he often takes the lead. However, at times, the piano’s driving energy could be perceived as slightly overpowering, particularly in the more lyrical sections where a softer touch might allow for greater emotional nuance.
The recording quality is generally satisfactory, with a slightly resonant ambience that enhances the vibrancy of the flute while maintaining a balanced sound with the piano. Although the slight echo can occasionally blur the articulation in more complex passages, it does not detract significantly from the overall experience. The engineering captures the dynamic range of both instruments, allowing the listener to appreciate the contrast between the flute’s ethereal qualities and the piano’s more grounded textures.
Kuhlau’s first sonata opens with a bright, playful character, leading into a slow movement that deftly weaves variations on the Swedish song “Sorrow’s Might.” This contrast between the lively and the introspective serves as a hallmark of Kuhlau’s compositional style. The C major sonata continues this exploration with its dramatic opening, invoking the spirit of Beethoven’s middle-period piano sonatas while maintaining an individual charm. The concluding G minor sonata stands out as the most dramatic of the set, with its hymn-like slow movement showcasing Kuhlau’s gift for lyricism. The Rondo alla polacca finale offers a feast of rhythmic vitality, inviting both performers to engage in a spirited dialogue that underscores the work’s celebratory nature.
This recording of Kuhlau’s flute sonatas not only enriches the catalog of early Romantic chamber music but also establishes itself as a commendable representation of the composer’s oeuvre. Grodd and Napoli’s interpretations, while occasionally leaning towards a more vigorous approach, provide a fresh perspective on these works, inviting both seasoned listeners and newcomers to appreciate Kuhlau’s artistry. A rewarding exploration of a composer whose historical significance continues to gain recognition.
