maté pálhegyi flautist
The backbone of especially virtuoso flute literature can be found in the music of the Romantic period and the 20th century. This era of music history is defining for me and not just because these pieces are extraordinarily virtuoso. When I think of Debussy's Syrinx, Chaminade's Concertino or Poulenc's Flute Sonata, the first thing that comes to mind is that there is no other music that has been tailored to the sound of the flute as much as these pieces. Then there’s also Mozart, who supposedly wasn't a great fan of the flute. Well, that’s not how I feel when I play his flute concertos or his flute quartets. These classical, romantic, and twentieth-century works are the ones that best show what my instrument can do and how beautiful it can sound.
In any case, being a virtuoso is fun, so after a major period of preparation (when I normally practice 8-10 hours a day), it’s an uplifting feeling to play a few of Paganini's capriccios, Rodrigo's flute concerto, a transcription of Mendelssohn's violin concerto accompanied by a symphony orchestra, or Karg-Elert’s Chaconne, a Prokofiev Sonata or Jolivet's Chant de Linos with a string quartet and harp.
In addition to all the great concert literature, I don't want to forget about etudes either. It is customary among pianists to play them on stage as well. So why shouldn’t I do it? In addition to my transcriptions of Paganini, Bach, and Chopin, I also like to play Köhler, Andersen and Jeanjean in concert - if not in the announced program, then as an encore.













© Máté Pálhegyi Vienna Flute Studio 2020 Photos by Nancy Horowitz