Encore

An Sylvia (To Sylvia), D. 891 by Franz Schubert is a charming Lied composed in 1826, set to a German translation of Shakespeare’s poem Who is Silvia? from The Two Gentlemen of Verona. The song is celebrated for its graceful melody and elegant simplicity, expressing admiration and idealized love with quintessential Schubertian warmth. In this arrangement for flute and piano by Eduardo González, the flute takes on the vocal line, preserving the lyrical phrasing and expressive nuance of the original while the piano maintains Schubert’s delicate accompaniment. The result is an intimate and poetic dialogue between the two instruments, capturing the refined beauty and gentle lyricism of one of Schubert’s most beloved songs.

An Sylvia (To Sylvia), D. 891 – for Flute and Piano (arr. Eduardo González)

Nostalgic Melody, Op. 18 by David Arditti is a composition for flute and piano that beautifully captures a sense of longing and lyrical reflection. Written in a Romantic style, the piece unfolds through an expressive melodic line supported by warm, flowing harmonies. Its graceful phrasing and delicate interplay between flute and piano evoke a mood of gentle melancholy and introspection, while showcasing the singing quality of the flute and the sensitivity of the piano accompaniment.

Nostalgic Melody, Op. 18 – for Flute and Piano

Melodya, Op. 16 No. 2 by Ignacy Jan Paderewski is one of the composer’s most lyrical and expressive short pieces, originally written for piano. It exemplifies Paderewski’s refined Romantic style—elegant, heartfelt, and imbued with a distinctly singing quality. The music unfolds with a graceful melodic line over gentle harmonic support, evoking a mood of nostalgia and tender introspection.
In this arrangement for flute and piano by Eduardo González, the flute takes on the melodic voice, enhancing the piece’s cantabile character and bringing a new dimension of color and emotional depth. The piano retains Paderewski’s original harmonic richness, while the flute’s expressive phrasing and tonal warmth offer a delicate and intimate reinterpretation of this Romantic miniature.

Melodya (Melody), Op. 16 No. 2 – for Flute and Piano (arr. Eduardo González)

Gypsy Airs (Zigeunerweisen), Op. 20 by Pablo de Sarasate is one of the most celebrated virtuoso showpieces of the Romantic era, originally composed for violin and orchestra in 1878. Inspired by Hungarian Gypsy melodies, the work blends fiery passion, rhythmic vitality, and dazzling technical brilliance with moments of haunting lyricism. Its combination of expressive rubato and breathtaking virtuosity has made it a favorite among performers and audiences alike.
In this arrangement for flute and piano by Eduardo González, the flute assumes the violin’s virtuosic role, showcasing the instrument’s agility, brilliance, and wide expressive range. The piano reduction preserves the richness and rhythmic energy of the orchestral score, while the flute’s bright tone and flexibility bring new color and nuance to Sarasate’s exuberant music. This adaptation offers flutists an opportunity to explore one of the great Romantic showpieces through a fresh and compelling lens.

Gypsy Airs (Zigeunerweisen), Op. 20 – for Flute and Piano (arr. Eduardo González)

Idilio, Op. 5 No. 2 by Alejandro Corona is a lyrical and expressive miniature originally composed for violin and piano. Deeply rooted in the Romantic tradition, the piece conveys a sense of tender intimacy and poetic warmth through its flowing melody and rich harmonic language. The title Idilio (“Idyll”) reflects its serene and introspective mood, capturing a moment of heartfelt simplicity and emotional sincerity.
In this transcription for flute and piano by Eduardo González, the flute takes on the central melodic role, allowing the piece’s expressive line to unfold with vocal-like phrasing and delicate nuance. The piano accompaniment retains the harmonic depth and gentle rhythm of the original, while the flute’s lyrical tone enhances the work’s emotional immediacy and charm. This version reveals Idilio as an intimate dialogue between two instruments, highlighting the beauty and refinement of Corona’s musical voice.

Idilio (Idyll), Op. 5 No. 2 – for Flute and Piano (transcr. Eduardo González)

Tears in Heaven by Eric Clapton is one of the most poignant and universally beloved songs of the late 20th century. Written in 1992 in collaboration with Will Jennings, the song expresses profound loss, love, and hope, blending heartfelt lyrics with a simple yet deeply moving melody.
In this arrangement for flute and piano by Eduardo González, the voice line is reimagined for the flute, transforming the song into a purely instrumental dialogue. The flute carries the song’s emotional essence with lyrical phrasing and expressive warmth, while the piano provides a gentle harmonic backdrop that preserves the intimacy and sincerity of the original. This version offers a reflective and tender interpretation of Clapton’s classic, allowing its timeless message to resonate through instrumental color and nuance.

Tears in Heaven – for Flute and Piano (arr. Eduardo González)

Adiós Nonino by Astor Piazzolla is one of the composer’s most iconic and emotionally charged works, composed in 1959 as a tribute to his father’s passing. Blending classical sophistication with the rhythmic vitality of the Argentine tango, the piece embodies Piazzolla’s distinctive nuevo tango style — merging passion, melancholy, and intricate counterpoint. Its title, meaning “Farewell, Grandfather,” reflects a deep sense of loss, expressed through a sweeping melodic line and rich harmonic textures.
In this arrangement for flute and piano by Eduardo González, the flute takes on the expressive melodic role, exploring the full range of its lyrical and emotional capabilities. The piano retains Piazzolla’s rhythmic drive and harmonic intensity, while the flute’s timbre adds transparency and poignancy to the music’s dramatic contours. This interpretation preserves the essence of Adiós Nonino while offering a chamber setting that highlights both instruments’ expressive depth and dynamic interplay.

Adiós Nonino – for Flute and Piano (arr. Eduardo González)

Poemeto by Osvaldo Lacerda is a lyrical and introspective work for flute and piano that beautifully reflects the Brazilian composer’s synthesis of classical form and national idiom. Written in Lacerda’s distinctive neoclassical style, the piece unfolds with melodic elegance and rhythmic subtlety, evoking both poetic intimacy and understated passion. The music flows in a single movement, with long, singing lines and harmonies enriched by gentle syncopations and modal inflections characteristic of Brazilian art music.
In performance, Poemeto reveals Lacerda’s refined craftsmanship and sensitivity to instrumental color. The flute’s voice alternates between expressive lyricism and quiet reflection, while the piano offers a transparent harmonic foundation that complements the work’s serene yet expressive atmosphere. This piece stands as a graceful example of mid-20th-century Brazilian chamber music — accessible, evocative, and imbued with national identity without resorting to overt folklorism.

Poemeto – for Flute and Piano

Jungle Fantasy (1948) by Esy Morales is a dazzling and rhythmically vibrant work that captures the exuberant spirit of Afro-Caribbean jazz from the mid-20th century. Originally composed and performed by Morales — a virtuoso flutist and bandleader known for his expressive tone and rhythmic flair — the piece combines Latin dance rhythms, jazz harmonies, and playful improvisatory gestures in a uniquely tropical soundscape.
In this arrangement for flute, piano, and Latin percussion by Eduardo González, Jungle Fantasy comes to life with renewed color and vitality. The flute leads with agile melodic lines and jazz-inflected phrasing, supported by the piano’s syncopated harmonies and the irresistible drive of congas and bongos. The result is a captivating fusion of classical refinement and Latin jazz energy — a celebration of rhythm, melody, and joy.

Jungle Fantasy – for Flute, Piano, and Latin Percussion (arr. Eduardo González)

Vals Venezolano by Paquito D’Rivera is a brilliant and lyrical homage to the Venezuelan waltz tradition, infused with the composer’s unmistakable blend of classical elegance and Latin jazz sophistication. Originally written for clarinet and piano, the piece captures the charm of South American dance rhythms through fluid melodies, unexpected harmonic turns, and gentle syncopations that convey both nostalgia and joy.
In this arrangement for flute and piano by Eduardo González, the work gains a new brightness and lyrical expressiveness. The flute sings with a vocal, flexible tone that highlights D’Rivera’s melodic inventiveness, while the piano provides rhythmic sparkle and harmonic warmth. The result is a graceful fusion of concert music and Latin flair — refined, heartfelt, and irresistibly rhythmic.

Vals Venezolano – for Flute and Piano (arr. Eduardo González)

Ni Mentira ni Verdad by Mario Ruiz Armengol is a tender and harmonically rich song that epitomizes the refined lyricism of one of Mexico’s most beloved composers. Known as “Mr. Harmony” for his sophisticated harmonic language, Ruiz Armengol wrote music that bridges the worlds of popular song, jazz, and classical expression. Ni Mentira ni Verdad unfolds with gentle melancholy and understated elegance, its melody imbued with emotional depth and poetic restraint.
In this arrangement for flute and piano by Eduardo González, the piece is reimagined as an intimate instrumental dialogue. The flute assumes the vocal line with expressive phrasing and tonal warmth, while the piano supports with lush harmonies and delicate rhythmic nuance. The result is a heartfelt and nostalgic interpretation that honors the spirit of the original song while highlighting its timeless musical beauty.

Ni Mentira ni Verdad – for Flute and Piano (arr. Eduardo González)

Contradanza by Paquito D’Rivera is a lively and rhythmically intricate piece that celebrates the joyful elegance of Latin dance forms through D’Rivera’s signature fusion of classical structure and jazz spontaneity. Inspired by the traditional contradanza — a dance of European origin that evolved throughout the Caribbean and Latin America — the work sparkles with syncopated rhythms, lyrical passages, and moments of virtuosic brilliance.
In this arrangement for piccolo and piano by Eduardo González, the music takes on a fresh, vibrant energy. The piccolo’s bright tone and agile articulation bring out the rhythmic sparkle and playfulness of D’Rivera’s writing, while the piano provides a lively harmonic and percussive foundation. The result is a dazzling dialogue between the two instruments — exuberant, refined, and unmistakably Latin in character.

Contradanza – for Piccolo and Piano (arr. Eduardo González)

Viejos Recuerdos (Old Memories) by Mario Ruiz Armengol is a refined and rhythmically elegant Cuban dance, composed with the harmonic richness and melodic warmth that define the Mexican master’s style. Known as “Mr. Harmony,” Ruiz Armengol masterfully fuses classical sophistication with Latin rhythmic grace, creating music that is both nostalgic and full of life.
In this arrangement for flute, piano, and Latin percussion by Eduardo González, Viejos Recuerdos takes on vibrant new colors. The flute leads with lyrical charm and rhythmic agility, the piano provides a harmonically lush and syncopated foundation, and the Latin percussion enhances the rhythmic pulse with subtle drive and authenticity. The result is a captivating chamber version that balances elegance and rhythm — a tribute to Latin dance tradition through a classical lens.

Viejos Recuerdos – Cuban Dance No. 4 for Flute, Piano, and Latin Percussion (arr. Eduardo González)

Estrellita (Little Star) by Manuel M. Ponce is one of Mexico’s most beloved songs — a tender and heartfelt melody that has charmed audiences around the world since its composition in 1912. With its simple yet deeply expressive tune and gently yearning harmony, Estrellita embodies the romantic spirit and lyrical grace that define Ponce’s musical language. The song’s emotional warmth and melodic beauty have made it an enduring symbol of Mexican art song.
In this arrangement for flute and piano by Eduardo González, the vocal line is beautifully reimagined for the flute, which captures the song’s intimate expressiveness and vocal inflection. The piano accompaniment retains its delicate balance between harmonic support and lyrical dialogue, creating a poetic and nostalgic chamber version that highlights both the elegance and emotional depth of Ponce’s timeless melody.

An Sylvia (To Sylvia), D. 891 – for Flute and Piano (arr. Eduardo González)

Eduardo González

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