Composed by Niels W. Gade (1817-1890)
for Flute and Piano
Adapted and Edited by Andras Adorjan
Published by Edition Svitzer
Duration: 8 minutes
Includes score and flute part
The Danish composer Niels Wilhelm Gade (1817-1890) composed in a characteristic national style, influenced by nordic literature and nordic folktunes. Already in 1834 he left for a study trip to Germany and became abruptly famous, once Mendelssohn in Leipzig had premiered his first symphony. Mendelssohn and Schumann were among his advocates and upon Mendelssohn's death he was appointed conductor of the Gewandhaus-Concerts in Leipzig. He left behind 8 symphonies, 7 ouvertures, numerous orchestral pieces, a violin concerto, chamber music, music for piano, organ, choir, incidental music, songs and vocal compositions – but nothing for the flute.
The present Capriccio for violin and piano, DF 104 was written for Johann Christoph Lauterbach, the concert master of the Koniglich Sachsische Hofkapelle in Dresden, who in May 1878 had asked Gade for a short piece for violin and orchestra, which he wanted to play at the celebrations of the silver wedding ceremonies of Albert, King of Saxony and his Swedish born wife Queen Carola. Gade accepted and sent Lauterbach this Capriccio almost immediately – but only with piano accompaniment. However, he allowed Lauterbach to have it orchestrated and gave some instructions for the instrumentation.
The music publishers Breitkopf & Hartel wanted to print it at once, still the piece was not published until after Gade's death in November 1892 by Ries & Erler. At first in an edition for violin and piano and again in October 1893, with orchestral accompaniment. Although Lauterbach had started the orchestration himself, the published instrumentation is by Carl Reinecke. The manuscript being lost, this edition is based on the first print of the Capriccio by Ries & Erler (1892) and the new Barenreiter edition of the complete works by Gade (2008).
As this remarkable Capriccio has been largely unnoticed by violinists and remained almost unknown, and the solo part with minor modifications is well playable on the flute, this adaptation gives flutists the possibility to add a challenging new romantic piece to their repertoire.
– Andras Adorjan
Munich, June 2018