Par REGER MAX. 芦Je comprends parfaitement ce qui manque 脿 notre musique d聮aujourd聮hui: un Mozart!禄 Avec ses trios compos茅s dans un style volontairement classique, Reger esp茅rait fournir la preuve du contraire 脿 ces 芦ignorants禄 qui lui reprochaient son 芦manque d聮芒me禄 et sa 芦complexit茅禄. Il choisit une formation instrumentale tout 脿 fait particuli猫re pour ses S茅r茅nades op. 77a et 141a: il laisse de c么t茅 les registres bas- les sonorit茅s claires de la fl没te, du violon et de l聮alto dessinent des figures sonores enjou茅es, des m茅lodies plaisantes 脿 l聮oreille. Pourtant, le style propre de Reger reste partout sous-jacent. Ces deux s茅r茅nades, qui ne sont pas trop exigeantes sur le plantechnique, peuvent non seulement figurer au programme d聮un concert, mais aussi constituer un divertissement bienvenu lors d聮une r茅union impromptue de musique de chambre. ? / Partition broch茅e / R茅pertoire / Fl没te Traversi猫re, Violon et Alto

Serenade for Flute Violin and Viola in D major op. 25-What occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? Was it perhaps commissioned by a nobleman who played music with such a group and needed music? Whatever thereason behind it Opus 25 is one of Beethoven芒聙聶s few chamber music works that did not have a Bass instrument. Despite the unusual combination of instruments Beethoven had no difficulty in finding apublisher for his serenade; shortly afterwards he even turned to the work again and revised an arrangement for Flute and Piano (Op. 41) which had been made by a third party. Our revised edition follows the musical text which willsoon be published in volume VI/1 of our new Beethoven Complete Edition.