Patrick Gallois belongs to the generation of French musicians leading highly successful international careers as both soloist and conductor. From the age of 17 he studied the flute with Jean-Pierre Rampal at the Paris Conservatoire and at the age of 21 was appointed principal flute in the Orchestre national de France under Lorin Maazel, playing with many famous conductors, including Leonard Bernstein, Seiji Ozawa, Pierre Boulez, Karl Böhm, Eugen Jochum and Sergiu Celibidache. He held this post until 1984, when he decided to focus on his solo career, which has subsequently taken him throughout the world.

He regularly performs and records with leading conductors and collaborates in chamber music with musicians such as Yuri Bashmet, Natalia Gutman, Peter Schreier, Jörg Demus, the Lindsay Quartet and formerly with Jean-Pierre Rampal and Lily Laskine.

He has been invited to appear as a soloist with major orchestras in Europe and in Asia, and in leading international festivals, with tours to Germany, Japan and Israel, and annual masterclasses at the Accademia Chigiana in Siena. For twelve years after establishing his own orchestra in Paris, the Académie de Paris, Patrick Gallois developed a conducting career which has taken him to Japan, Scandinavia, Italy, Portugal, the United States and Bulgaria, in addition to appearances as a conductor in France. In 2003 he was appointed musical director of the Sinfonia Finlandia Jyväskylä and toured regularly with the orchestra.

Gallois has a wide repertoire both as a conductor and as a flautist, with a predilection for contemporary music and many new works have been dedicated to him. His recordings include an award-winning series for DG. For Naxos he has recorded the complete Flute Concertos of C.P.E. Bach (8.557515–16), Haydnʼs Symphonies Nos. 1–5 (8.557571) and 9–12 (8.557771), and Gounodʼs Symphonies (8.557463), among other works. His recording for Naxos of Krausʼs Aeneas i Cartago (8.570585) was awarded a Choc (Musica) in April 2010. His recording of the Violin Concertos of Saint-Saëns with Fanny Clamagirand (8.572037) was also awarded a Choc (Musica) in February.

For more information, please visit www.patrickgallois.com.

The Magic Flautist & Conductor – Patrick Gallois Talks to Jeremy Siepmann

See Patrick Gallois’s Naxos interview

Pianist Maria Prinz is widely in demand as a soloist, recitalist and chamber musician. She has performed with leading orchestras throughout Europe, including several appearances with the Vienna Philharmonic Orchestra, collaborating with renowned conductors Sir Neville Marriner, Seiji Ozawa and Riccardo Muti at the Salzburg Festival. As a recitalist, Prinz has performed across the US, Japan, Australia, New Zealand and most European countries. She has appeared at the Pacific Music Festival in Sapporo, the Musikverein and Konzerthaus in Vienna, Carnegie Hall’s Weill Recital Hall in New York, the Queen Elizabeth Hall and the Barbican Centre in London, and the Bunka Kaikan in Tokyo. Her chamber music collaborations include numerous performances with members of the Vienna Philharmonic Orchestra, international artists such as Andrew Marriner, Patrick Gallois and Philippe Pierlot, and world-famous singers Ludovic Tézier, Krassimira Stoyanova and Matthias Goerne.

Prinz has recorded Haydn and Mozart piano concertos with the Sofia Symphony Orchestra, Brahms sonatas with clarinettist Alfred Prinz, The 20th-century Concerto Grosso with the Academy of St Martin in the Fields under Sir Neville Marriner (Chandos) and several Naxos releases with flautist Patrick Gallois, soprano Krassimira Stoyanova and mezzosoprano Margarita Gritskova. In addition to her performing career, Prinz has taught at the University of Music and Performing Arts in Vienna since 1987.

Born in Bonn in 1770, the eldest son of a singer in the Kapelle of the Archbishop-Elector of Cologne and grandson of the Archbishop’s Kapellmeister, Beethoven moved in 1792 to Vienna. There he had some lessons from Haydn and others, quickly establishing himself as a remarkable keyboard player and original composer. By 1815 increasing deafness had made public performance impossible and accentuated existing eccentricities of character, patiently tolerated by a series of rich patrons and his royal pupil the Archduke Rudolph. Beethoven did much to enlarge the possibilities of music and widen the horizons of later generations of composers. To his contemporaries he was sometimes a controversial figure, making heavy demands on listeners by both the length and the complexity of his writing, as he explored new fields of music.

Stage Works

Although he contemplated others, Beethoven wrote only one opera. This was eventually called Fidelio after the name assumed by the heroine Leonora, who disguises herself as a boy and takes employment at the prison in which her husband has been unjustly incarcerated. This escape opera, for which there was precedent in contemporary France, ends with the defeat of the evil prison governor and the rescue of Florestan, testimony to the love and constancy of his wife Leonora. The work was first staged in 1805 and mounted again in a revised performance in 1814, under more favourable circumstances. The ballet The Creatures of Prometheus was staged in Vienna in 1801, and Beethoven wrote incidental music for various other dramatic productions, including Goethe’s Egmont, von Kotzebue’s curious The Ruins of Athens, and the same writer’s King Stephen.

Choral and Vocal Music

Beethoven’s most impressive choral work is the Missa solemnis, written for the enthronement of his pupil Archduke Rudolph as Archbishop of Olmütz (Olomouc) although finished too late for that occasion. An earlier work, the oratorio Christ on the Mount of Olives, is less well known. In common with other composers, Beethoven wrote a number of songs. Of these the best known are probably the settings of Goethe, which did little to impress the venerable poet and writer (he ignored their existence), and the cycle of six songs known as An die ferne Geliebte (‘To the Distant Beloved’). The song ‘Adelaide’is challenging but not infrequently heard.

Orchestral Music

Symphonies

Beethoven completed nine symphonies, works that influenced the whole future of music by the expansion of the traditional Classical form. The best known are Symphony No. 3, ‘Eroica’, originally intended to celebrate the initially republican achievements of Napoleon; No. 5; No. 6, ‘Pastoral’; and No. 9, ‘Choral’. The less satisfactory ‘Battle Symphony’ celebrates the earlier military victories of the Duke of Wellington.

Overtures

For the theatre and various other occasions Beethoven wrote a number of overtures, including four for his only opera, Fidelio (one under that name and the others under the name of the heroine, Leonora). Other overtures include Egmont, Coriolan, Prometheus, The Consecration of the House and The Ruins of Athens.

Concertos

Beethoven completed one violin concerto and five piano concertos, as well as a triple concerto for violin, cello and piano, and the curious Choral Fantasy for solo piano, chorus and orchestra. The piano concertos were for the composer’s own use in concert performance. No. 5, the so-called ‘Emperor’ Concerto, is possibly the most impressive. The single Violin Concerto, also arranged for piano, is part of the standard violin repertoire along with two romances (possible slow movements for an unwritten violin concerto).

Chamber Music

Beethoven wrote 10 sonatas for violin and piano, of which the ‘Spring’ and the ‘Kreutzer’ are particular favourites with audiences. He extended very considerably the possibilities of the string quartet. This is shown even in his first set of quartets, Op. 18, but it is possibly the group of three dedicated to Prince Razumovsky (the ‘Razumovsky’ Quartets, Op. 59) that are best known. The later string quartets offer great challenges to both players and audience, and include the remarkable Grosse Fuge—a gigantic work, discarded as the final movement of the String Quartet, Op. 130, and published separately. Other chamber music includes a number of trios for violin, cello and piano, with the ‘Archduke’ Trio pre-eminent and the ‘Ghost’ Trio a close runner-up, for very different reasons. The cello sonatas and sets of variations for cello and piano (including one set based on Handel’s ‘See, the conqu’ring hero comes’ from Judas Maccabaeus and others on operatic themes from Mozart) are a valuable part of any cellist’s repertoire. Chamber music with wind instruments and piano include the Quintet, Op. 16, for piano, oboe, clarinet, horn and bassoon. Among other music for wind instruments is the very popular Septet, scored for clarinet, horn, bassoon, violin, viola, cello and double bass, as well as a trio for two oboes and cor anglais, and a set of variations on a theme from Mozart’s Don Giovanni for the same instruments.

Piano Music

Beethoven’s 32 numbered piano sonatas make full use of the developing form of the piano, with its wider range and possibilities of dynamic contrast. Other sonatas not included in the 32 published by Beethoven are earlier works, dating from his years in Bonn. There are also interesting sets of variations, including a set based on ‘God Save the King’and another on ‘Rule, Britannia’, variations on a theme from the ‘Eroica’ Symphony, and a major work based on a relatively trivial theme by the publisher Diabelli. The best known of the sonatas are those that have earned themselves affectionate nicknames: the ‘Pathétique’, ‘Moonlight’, ‘Waldstein’, ‘Appassionata’, ‘Les Adieux’ and ‘Hammerklavier’. Less substantial piano pieces include three sets of bagatelles, the all too well-known Für Elise, and the Rondo a capriccio, known in English as ‘Rage Over a Lost Penny’.

Dance Music

Famous composers like Haydn and Mozart were also employed in the practical business of providing dance music for court and social occasions. Beethoven wrote a number of sets of minuets, German dances and contredanses, ending with the so-called Mödlinger Dances, written for performers at a neighbouring inn during a summer holiday outside Vienna.