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Marko Zupan & Minka Popovic | Wanderlust

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Classical: Romantic Era Classical: Chamber Music Moods: Mood: Virtuoso
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by Marko Zupan & Minka Popovic

“Wanderlust” album - an exotic musical journey through the German Romantic Virtuoso Flute Repertoire - as a homage to all the colleagues who tried to make their art and their living with it.
Genre: Classical: Romantic Era
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  Song Share Time Download
1. Es Will Abend Werden, Op. 41
Marko Zupan & Minka Popovic
6:06 $0.99
2. Le carnaval de Venise, Op. 157
Marko Zupan & Minka Popovic
4:22 $0.99
3. Airs Valaques, Op. 10
Marko Zupan & Minka Popovic
12:39 $0.99
4. Espagnole, Op. 62
Marko Zupan & Minka Popovic
2:20 $0.99
5. Souvenir de la Russie, Op. 3
Marko Zupan & Minka Popovic
6:57 $0.99
6. La reine des Alpes, Op. 250, Nr.3
Marko Zupan & Minka Popovic
6:12 $0.99
7. Serbisches Märchen, Op. 469, Nr.4
Marko Zupan & Minka Popovic
4:00 $0.99
8. "Columbus" Rapsodie Americaine, Op. 132
Marko Zupan & Minka Popovic
9:58 $0.99
9. Ungarische Phantasie, Op. 25
Marko Zupan & Minka Popovic
9:31 $0.99
10. Gute Nacht (Winterreise)
Marko Zupan & Minka Popovic
5:37 $0.99
Downloads are available as MP3-320 files.


Album Notes

[1] Rudolf Tillmetz (1847-1915) Es will Abend werden, Op. 41

[2] Kaspar Kummer (1795-1870) Le Carnaval de Venise, Op.157

[3] Albert Franz Doppler (1821-1883) Airs Valaques, Op.10

[4] Ferdinand Büchner (1823-1906) Espagnole, Op.62

[5] Ernst Wilhelm Heinemeyer (1827-1869) Souvenir de la Russie, Op.3

[6] Wilhelm Popp (1828-1903) La reine des Alpes, Op.250, nr.3

[7] Wilhelm Popp (1828-1903) Serbisches Märchen, Op.469, nr.4

[8] Adolf Terschak (1832-1901) "Columbus" Rapsodie Americaine, Op.132

[9] Rudolf Tillmetz (1847-1915) Ungarische Phantasie, Op.25

[10] Theobald Böhm (1794-1881) Gute Nacht (from Schubert's Winterreise)

“Wanderlust”, a strong impulse or longing to travel, was the much loved term of the German Romantic Époque. The painter Caspar David Friedrich, poets and writers such as Heinrich Heine, Wilhelm Müller and Joseph Victor von Scheffel, composers Franz Schubert, Johannes Brahms, Gustav Mahler and countless other artists tried to express their innermost feeling of Wanderlust through different aspects of their art. The flutists of the period joined them in this endeavour.
After the flutistically rich Baroque and Classical period, the romantic XIX. Century left a gap in the flute repertoire. With rare exceptions (Schubert, Reinecke, Widor et al.), the major composers did not focus their genius on writing for one of today`s most popular instruments. Eventually the XX. century and Impressionism brought a revival. The flute grew popular as a solo instrument, a trend which continues strongly in the XXI. century. This lack of romantic repertoire was probably the reason that flutists of the period were forced to take matters into their own hands - and start composing. Most of them were thoroughly trained in the art of music, inspired by virtuosos such as Paganini, Chopin and Liszt, and they started to create a specific style of salon music. In fact the style was so specific, it became a cliché for the flutist of the time to be represented as playing fast acrobatic passages and sentimental melodies. That may have been the case at the time, nonetheless this instrumentally progressive composing enriched and developed the technical aspects of flute playing. It prompted inventors like Theobald Boehm to invent new systems of mechanics for the flute so that it challenged the established virtuoso instruments such as violin and piano. Without these pioneers of flute virtuosity, there would probably have been no renaissance of the instrument later on. At the same time this is "feel good" music which is easy to listen to and this CD is a homage to all the colleagues who tried to make their art and their living with it.

Theobald Boehm (1794-1881) was first educated as a goldsmith and jeweler, then began to be interested in building instruments. Soon after starting the craft, he built his own flute, which he also learned to play. As a musician he was always on the lookout for new expressions and technical capabilities. This openness and experimentation soon led to the invention of a new system of modern flutes, which are still in use today. Because of the brilliant nature of his writing and his accomplished playing, he got the nickname "Paganini of the flute". As a concert soloist he traveled all over Europe and helped to popularize his newly invented instrument. In addition to the new technical capabilities, the sound was enriched and evolved increasingly in the direction of the human voice. For this purpose he wrote and transcribed many songs, including the nostalgic "Gute Nacht" (Good night) from Schubert's song cycle "Winterreise".

Kaspar Kummer (1795-1870) was a multi-instrumentalist. In addition to the flute he played violin, horn, trumpet, clarinet, oboe, bassoon, cello and double bass. As a child he received a pipe as a gift, which he soon mastered - everybody was surprised by his musical ability. After learning all of these instruments and music theory, the flute still remained his favourite instrument. He became the principal flutist in the Orchestra of Prince Ernst I. in Coburg. He wrote around 150 compositions, mostly for flute. Among them, the Le Carneval de Venice (The Carnival of Venice) - a popular theme used by countless virtuoso instrumentalists and composers from the celebrated Paganini onwards. It actually derives from a folk tune of “the three-cornered hat".

Albert Franz Doppler (1821-1883) was and excellent flutist, like his brother Karl who was four years his junior. Together they performed on tours in Europe with sensational success. One of those travels in the Balkans was where he presumably got inspired to write his early fantasy for the flute and piano entitled "Airs Valaques" - Vlachian songs. Vlachs were known for their magical arts and also dances. Later in his career he became a conductor at the Royal Opera House in Vienna and flute professor at the Vienna Conservatory. While a student of the famous virtuoso Liszt, he received an exercise to orchestrate his Hungarian rhapsodies. Doppler did such a good job that Liszt let his name be printed on the issued publication.

Ferdinand Büchner (1823-1906) is another German flutist who took up composing. His artistic path took him from his home country to Russia. He first lived in St.Petersburg, one of the centers of the european musical life at the time. Afterwards he gained a position in the Imperial Theatre in Moscow. Later he was chosen as a professor at the newly established Conservatory of music in Moscow. The short characteristical piece Espagnole (Spanish) might be a warming up fantasy in the midst of Russian winter. As a soloist, Büchner was known for his round and noble tone and refined interpretation.

Ernst Wilhelm Heynemeyer (1827-1869) was born in Hannover and died in Vienna. His artistic path however, took him also to St. Petersburg, where he was principal flutist in the Royal Opera Orchestra. Unfortunately, an illness forced him to cancel the position and return back to Hannover. Souvenir de la Russie or A memory of Russia is the result of his contact with the Russian soul. The composition develops folk motives and also borrows the melody from Aljabljev's "Nightingale".

Wilhelm Popp (1828-1903) was the most productive among all the flutists-composers. He had a habit of signing himself also with a French version of his name, Guillaume Popp, and he sometimes even used the pseudonym Henry Alberti. He wrote more than 600 compositions of different difficulty levels, many of which are included in the standard repertoire of the young flutist. In 1854 he was given the title of a court musician in Coburg, a job that he lost a few years later, after coming to work four weeks late following a solo tour in Russia. Later he tried to excuse himself with an illness, but was fined and then decided to quit the job. Not long after this he was even in prison as his former employer accused him of stealing a flute! Still most of his compositions are exemplary in the formal structure and style. La reine des Alpes (The Queen of the Alps) and Serbisches Märchen (Serbian Fairytale) on this CD represent his character piece way of writing.

Adolf Terschak (1832-1901) realized his Wanderlust as he spent most of his life on tour. He travelled the world with his flute in the times when there were still no cheap flights - a feat in itself! He played in almost all of the capitals of Continental Europe as well as in London, Christiania (Oslo), Moscow, St. Petersburg, Tomsk, Vladivostok, Tokyo, Yokohama, Shanghai, Beijing, Istanbul, Samarkand, Buhara, Tashkent ... the list goes on. Finally, his otherwise iron health let him down. After a concert in Tashkent he travelled via St. Petersburg to Breslau, where he died at seventy years of age. His work is unjustly still relatively unknown, including the "Columbus" Rapsodie américaine (American rhapsody). This piece was probably written with USA tour in mind, which never eventuates. Perhaps he even identified himself with the great traveler Columbus? It features famous melodies such as "Home sweet home", "Susanna" and "Yankee doodle".

Rudolf Tillmetz (1847-1915) was a child prodigy on the flute. His concert career began already when he was eleven years old. At seventeen he joined the Court orchestra in Munich, where he performed for example at the premiere of Wagner's Parsifal. Later he became a professor at the Royal Academy in Munich. Although he spent most of his life in Munich, Tillmetz was, along with Paul Taffanel, one of the most famous flutists in Europe. His intricate compositions lean mainly towards the past, as can be heard in the virtuosic and folkloristic writing of the Ungarische Phantasie (Hungarian fantasy) - one also detects however the influence of his celebrated contemporary Richard Wagner in some of the bold harmonic modulations, as in his melancholic nocturne Es will Abend werden (The shades of night are a falling).



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