Variations et Solos, Op. 10 by Friedrich Daniel Rudolf Kuhlau
Introduction
Stumbling across this delightful set of 12 Variations et Solos, Op. 10 by Friedrich Daniel Rudolf Kuhlau (11 September 1786 – 12 March 1832) at this late stage of my relationship with the flute, has been nothing short of enlightening and at the same time uplifting. I am slightly bewildered though that I was not made aware of the existence of these outstanding pieces as a student.
With today’s current fashion for flutes to be louder than ever before and for tempi to be likewise quicker and more manic, these delightful 19th Century European ‘musical postcards’ hark back to a period when the flute was considered to be more of a delicately perfumed and elegant instrument. The revolution of the Boehm system flute was still some way off, but despite a plethora of mechanical issues with the flutes available in 1810, the instrument itself was still regarded as one of charm and beauty, perfectly at home in small ensembles in the ‘salons’ or drawing rooms of the aristocracy.
In these charismatic works, Kuhlau has tapped into and embraced this concept with grace and style. Although now more than 200 years’ old, there is so much to be gained from and enjoyed in these pieces, which in turn is pertinent to practice sessions, performances and the overall development of our musicianship.
It might be useful to momentarily consider the context surrounding the period in which they were written. In 1810, Napoleon was busy conquering and taking control of countries in Europe, to further expand his Empire. Spain had already succumbed to his advancing army. Germany and Holland were next in line. Indeed, to avoid conscription into the Napoleonic army, Kuhlau fled to Copenhagen and subsequently in 1813 became a Danish citizen (you will often find his surname spelt Kulav).
Europe was deeply unsettled and it followed that those involved in the Arts were crying out for some form of relief, even peace and calm from the horrors of the time. Painters such as Goya, Turner, Delacroix and Constable spring to mind.
This was mirrored in the world of classical music, by composers such as Beethoven, Schubert and Weber (and of course Kuhlau!).
Apart from the immense joy and delight that comes from working on these Variations et Solos, their immaculate construction and flow free us up to explore many aspects of our flute playing and musicianship, but on so many different and important levels.
Once a degree of familiarity has been established, they can provide a perfect platform from which to launch ourselves into a day with the flute. With primary focus on lips, lungs, articulation and fingers most, if not all of the relevant disciplines are covered in a stylish and musically stimulating manner. We are inspired and as we become increasingly engaged with what we are doing, the possibility of rapid progress soars exponentially.
Kuhlau’s thoroughly engrossing approach to composition takes us on a highly specific journey. Potentially complex technical issues are so blissfully hidden away in his astounding yet simple music, that we are barely aware of their existence. Free from a more mundane or rigid approach to technical matters, music and technique are allowed to travel along in tandem as one combined unit, permitting us to be more at ease whilst engaging with and exploring expression.
Apart from their immense worth as pieces to practise, Variations et Solos are also perfect unaccompanied ‘fillers’ to place in a recital or chamber music programme. They are a joy to play and compelling to listen to.
During his lifetime, Kuhlau was often referred to as ‘the Beethoven of the flute’.
Having now experienced his sublime Variations et Solos for flute, I can clearly understand why!
It is high time that these wonderful and thoroughly charming works are revisited and brought together again to reach a new audience.
You will notice from illustrations of Kuhlau that his right eye is always hidden away. At the age of seven he fell over on ice, losing this eye in the process.
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