Frøhlich, Johannes Frederik - Sonata for flute and piano

Edited by Ulla Miilmann
Duration: 18 min.

Frøhlich music range from solo sonatas, chamber music, ballet music and symphony works. From his flute works we know one duet for two flutes, two flute sonatas and a Divertissement for flute and orchestra (Royal Library in Copenhagen). The sonata in A-minor is an exciting journey into the heart of the Danish Golden Age. One hears clearly the influence of Weber, Beethoven and Kuhlau, but Frøhlichs personal imprint is definitely present in the form of his very curly and quirky lines and rhythmic subtleties. It is a sonata that challenges flutist and pianist, both musically and technically.

Johannes Frederik Frøhlich (1806-1860) was born in Copenhagen. He lived in the period known as ”The Danish Golden Age”. Among Frøhlichs peers was the writer Hans Christian Andersen, the composer J.P.E. Hartmann and choreographer August Bournonville, with whom he established a close friendship. It was especially his music to August Bournonville´s ballets that made him popular with the contemporary audience, but he was also recognized as a conductor and violinist at the Theatre. Frøhlich received since childhood training in piano, violin and flute with Royal Orchestra Musikus Fr. Kittier and Royal Conductor Claus Schall. As a six-year old child prodigy, he performed at King Frederik VI’s court, with flute as his instrument. It was not long before the leading composers of the time, Weyse and Kuhlau, discovered Frøhlichs musical talent and he received training by both in composition. At age 15 Frøhlich was employed at the Royal Orchestra as a violinist. Later he was to become choirmaster, and ended his career at the Royal Theatre as opera conductor. Frøhlich music range from solo sonatas, chamber music, ballet music and symphony works. From his flute works we know one duet for two flutes, two flute sonatas and a Divertissement for flute and orchestra (Royal Library in Copenhagen). The sonata in A-minor is an exciting journey into the heart of the Danish Golden Age. One hears clearly the influence of Weber, Beethoven and Kuhlau, but Frøhlichs personal imprint is definitely present in the form of his very curly and quirky lines and rhythmic subtleties.