Octet in E-flat major, Op. 103

Beethoven’s “Octet in E-flat major”, Op. 103 puzzles upon its immediate presentation—the Opus number implies that this work was composed very late in Beethoven’s life. However, the Octet was finished by early 1793, predating the completion of all his beloved symphonies.

Although the “background music” aspects of Harmoniemusik and Tafelmusik are a central part of the history of this work, the innovation and depth present within this work foreshadow the monumental upheaval of classical music that Beethoven would achieve with his later works.

A master of motivic development, Beethoven could take a simple musical idea and transform it into a complex and emotionally charged sonic journey. He often employed this technique to unify his compositions, creating a sense of coherence and thematic unity. By manipulating motifs through rhythmic variation, melodic augmentation or diminution, and harmonic transformation, Beethoven could evoke a wide range of emotions, from triumph and joy to despair and longing. This innovative approach to composition profoundly impacted the course of Western music history.

The “Octet in E-flat Major” is a remarkable early example of Beethoven’s masterful use of motivic development. The opening motif of the first movement, a simple three-pitch figure moving in stepwise motion, is fragmented, inverted, elongated, and transformed. This technique not only propels the music forward but also imbues the piece with a sense of unity and coherence. The tension and excitement that became Beethoven’s trademarks are so charmingly represented in this early work, which, though written for modest forces, looks forward toward the composer’s masterful symphonic prowess. Through skillful manipulation of motifs, Beethoven’s “Octet in E-flat Major” encapsulates his extraordinary ability to craft compelling and emotionally resonant music.-Note by the composer

Petite Symphonie

A renaissance of wind chamber music began in 1879 through the efforts of French flutist and conductor Paul Taffanel. Taffanel’s creation of the Société de musique de chambre pour instruments à vent (Society of Chamber Music for Wind Instruments) saw the revival of the wind music of Mozart and Beethoven and pioneered the commissioning of new works for the medium. Among these works was Charles Gounod’s “Petite Symphonie” for nine wind instruments—including a notable single flute part for Taffanel.

The "Petite Symphonie" is a delightful gem and a testament to Gounod's melodic genius and prowess as an orchestrator. Composed in 1885, this charming work offers a captivating blend of classical elegance and romantic lyricism. The symphony's four movements transport listeners to a world of pastoral beauty and sophistication, and feature hocketed “conversations” between different instruments through clever orchestration; these conversations are at times collaborative and at others bickering. From the piece’s charming opening movement, through its soaring second movement featuring solo flute, its playful scherzo, and the arrival at a lighthearted, celebratory conclusion, Gounod's music paints vivid aural landscapes filled with an imaginary cast of the music’s evocation.