Encore

The Dance of the Goblins (La Ronde des Lutins), Scherzo fantastique, Op. 25 by Antonio Bazzini is a dazzling showpiece originally composed for violin and piano in 1852. Renowned for its virtuosic brilliance and playful character, the work vividly portrays mischievous goblins whirling in a fantastical nocturnal dance. In this arrangement for flute and piano by Eduardo González, the piece preserves its sparkling energy and technical demands while exploring the flute’s agility and expressive color. The adaptation highlights the instrument’s capacity for rapid articulation, shimmering harmonics, and lyrical phrasing, offering flutists a fresh and exhilarating interpretation of this Romantic classic.

The Dance of the Goblins (La Ronde des Lutins), Scherzo fantastique, Op. 25

Intermezzo Sinfonico from Cavalleria Rusticana by Pietro Mascagni is one of the most beloved orchestral interludes in the operatic repertoire. Composed in 1890, it embodies the lyrical warmth and emotional intensity of Italian verismo, offering a moment of profound reflection within the opera’s dramatic context. In this arrangement for flute and piano by Eduardo González, the solo line captures the soaring expressiveness of Mascagni’s original string melodies, while the piano part preserves the lush harmonic texture of the orchestral accompaniment. The result is an intimate and deeply lyrical interpretation that showcases the flute’s singing tone and capacity for heartfelt expression.

Intermezzo Sinfonico from Cavalleria Rusticana (arr. Eduardo González)

The Swan (Le Cygne) from The Carnival of the Animals by Camille Saint-Saëns is one of the composer’s most graceful and enduring works. Originally written for cello and piano in 1886, it evokes the serene elegance of a swan gliding across still waters through its flowing melodic lines and gentle accompaniment. In this arrangement for flute and piano by Eduardo González, the flute assumes the lyrical role of the swan, bringing a new transparency and vocal quality to the melody. The adaptation highlights the instrument’s expressive warmth and refined phrasing, offering a delicate and poetic interpretation of this timeless miniature.

The Swan (Le Cygne) from The Carnival of the Animals (arr. Eduardo González)

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)

Calm as the Night (Still wie die Nacht), Op. 326 by Carl Bohm is one of the most beloved German songs of the late Romantic era. Written around 1888, it exemplifies Bohm’s gift for lyrical simplicity and heartfelt emotion. The song’s tender melody and gentle harmonic flow evoke a sense of serenity and quiet devotion, making it a favorite among vocalists and instrumentalists alike.
In this arrangement for flute and piano by Eduardo González, the flute takes the place of the vocal line, singing with a warm, expressive tone while the piano provides a delicate, flowing accompaniment. The result is a lyrical miniature of intimate beauty, perfectly suited to showcase the flute’s vocal qualities and poetic phrasing.

Calm as the Night (Still wie die Nacht), Op. 326 – for Flute and Piano (arr. Eduardo González)

Berceuse from Dolly Suite, Op. 56 by Gabriel Fauré is a tender and lyrical piece originally composed for piano in 1893–1896 as part of a suite dedicated to the young Hélène “Dolly” Bardac. The work’s gentle rocking rhythm and warm, flowing melody evoke the serene intimacy of a lullaby, combining elegance and subtle harmonic sophistication characteristic of Fauré’s style.
In this arrangement for flute and piano by Eduardo González, the flute carries the melodic line, imbuing it with a singing, expressive tone, while the piano provides the soft, supportive accompaniment. The arrangement preserves the piece’s delicate charm and poetic nuance, offering a refined and intimate interpretation that highlights the lyrical qualities of both instruments.

Berceuse, from Dolly Suite, Op. 56 – for Flute and Piano (arr. Eduardo González)

Sicilienne et Rigaudon by Fritz Kreisler is a beloved violin showpiece, showcasing the composer’s signature charm, elegance, and lyrical warmth. Originally written for violin and piano, the two contrasting movements—Sicilienne, gentle and flowing, and Rigaudon, lively and rhythmic—highlight Kreisler’s flair for melodic grace and virtuosity.
In this arrangement for flute and piano by Eduardo González, the flute assumes the violin’s melodic lines, bringing a new color and expressive nuance to the work. The Sicilienne is rendered with singing, legato phrasing, while the Rigaudon bursts with playful energy, preserving the rhythmic vitality and technical brilliance of the original. The arrangement captures Kreisler’s elegance and charm, offering a delightful and accessible interpretation for flutists.

Sicilienne et Rigaudon – 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.