Silvia Careddu, George Bizet / Ludwig van Beethoven, Carmen / Leonore / Other

Sequence published on 2/17/21

Composer : Ludwig van Beethoven

Year of composition : 1845

Artistic period : 19th century

Musical category : Suite

Academy : Academy Feb. 14 - Feb. 21, 2021

Master(s) : Silvia Careddu

Student : Letizia Rita Amico

Date of recording : 10/22/21

Instrument(s) played :

Flute

"You start analyzing every note. Start anticipating each note." Silvia Careddu

About the Flute class by Silvia Careddu on the Traits d'orchestre : 1st extract Carmen / 2nd extract Leonore / Other

Flute Master class by Silvia Careddu | Bizet, Beethoven

In the process of working on the pieces of Georges Bizet and Ludwig van Beethoven, the specific
features of the flute technique and articulations that are necessary for expressive performance are
considered. The methods of the most appropriate sound production, articulation, and interaction with
the orchestra are determined. Much attention is paid to the study of peculiarities of the composer's
musical era stylistics, his historical and social environment, which influenced his work. Attention is
paid also to the psychological preparation of the performer for various phases of the performance and
the achievement of the set creative goals.

What we learn in this Flute Master class

- To keep the emotional state for the start
- To remember that silence is continuing the music
- To build the long phrases and intonations
- To record performances for self-control and correction
- To understand the subject of the music and the composer’s aspirations.

About George Bizet / Ludwig van Beethoven's work

Georges Bizet (25 October 1838 – 3 June 1875), registered at birth as Alexandre César Léopold Bizet, was a French composer of the Romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire opera repertoire. Carmen is an opera in four acts by French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalized its first audiences. Ludwig van Beethoven baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. The ""early"" period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his ""middle"" period showed an individual development from the ""classical"" styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as ""heroic"". During this time, he began to suffer increasingly from deafness. In his ""late"" period from 1812 to his death in 1827, he extended his innovations in musical form and expression.

Beethoven spent more time writing the overture to Fidelio than Rossini and Donizetti spent on entire operas, overtures included. But then Beethoven did write a total of four overtures to his only opera, which underwent several revisions. Beethoven was dissatisfied for various reasons, practical and aesthetic, with the first three versions of the overture. All three are today referred to as “Leonore,” after the opera’s protagonist – and the working title of the first version (1805) of the opera itself – a woman who, disguised as a man, Fidelio, rescues her husband, Florestan, from political imprisonment and imminent death. Leonore No. 1 was regarded by the composer as too slight to bear the burden of the drama that was to follow. Leonore No. 2 is hugely dramatic, mirroring the intensity of the darkest events of the opera it was once intended to precede. No. 3, however, distills the essence of the opera itself, transmitting its power in less than a quarter-hour's playing time.