Ungarischer Hirtengesang

$51.95 $46.76






SKU: 05S520000003


Ungarischer Hirtengesang (Fantaise) – Chant pastoral hongrois
Composed by Franz and Carl Doppler
for Two Flutes and Piano
Edited by Andras Adorjan
Published by Edition Svitzer
Duration: 9'30″
Includes score and parts

      Franz (1821-1883) and Carl (1825-1900) Doppler were among the best-known musicians of their time. They were both born in Lemberg but lived from 1838 in Hungary. They started their solo career in 1852 as a remarkable flute duo, playing jointly composed pieces. In 1858 Franz was appointed first flute and ballet conductor at the Vienna Hofoper, and in 1865 he also became a professor for flute at the Vienna Conservatory. In 1865 Carl was named music director at the Stuttgart Opera, where he stayed for more than thirty years as a popular Hofkapellmeister. Besides their flute music, which they had written jointly in their youth, both brothers left independently composed operas, stage and ballet music, which were played with great success for many years, but are entirely forgotten and remain unknown to this day. 
      This fantasy for two flutes, Ungarischer Hirtengesang (Chant pastoral hongrois) represents most likely the original version of Franz Doppler's most popular flute compositon, his Fantaisie pastorale hongroise, opus 26. The introduction is identical in both compositions, however, in this earlier reading there is also an addition of a second flute part. The rest of the piece is new and offers delightful, unknown all'ongarese flute music, as could be written only be the Doppler brothers. From 1856 on this piece often figured on their concert programs. As it was always announced as composed and performed by Franz and Carl Doppler, it must have been a joint composition. This is consistent with the note dated 22 February 1876 in the private account book of Franz: “From Schott's Sohne in Mainz, Remuneration for flute=compositions Opus: 24. 25. 26, a 33. (:100fl: (half of it Carl, remains) 50.-“. Remuneration for all jointly composed pieces was shared evenly by the brothers. This time even in spite of the fact, that Franz in his own opus 26 only used the beginning of their earlier jointly composed music. As all the cues in the solo parts are indicated with “Violine”, principally it must have been intended to be played with orchestra. This Hungarian Pastoral Song was never publishd by the brothers and, since only the handwritten solo parts have survived, the piano accompaniment has been reconstructed by Jan Philip Schulze.
– Andras Adorjan.
Munich, in December 2018

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