François Devienne: Sonata for Flute, Bassoon, and Piano (1787)

00:00 - I. Allegro moderato
06:11 - II. Rondo: Allegretto assai
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Bassoon: Eberhard Buschmann
Flute: Robert Dahn
Piano: Monica von Saalfeld
Year of Recording: ???
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"The first movement of the All Moderato beat is striking with its cheerful and lively thematic form. In addition to the simple and unsophisticated musical form, the fast passages in the part have been skillfully interspersed, and they are presented to the performers with soft transitions, without forcing them both as technically and register. The composer has equally distributed the solos to all three instruments. The theme beginning with the flute, then is heard on the harpsichord, and finally on the bassoon. It consists of a deep musical form that does not have a rhythmically complex structure and, is made with the simplicity that performers can demonstrate their skills as soloist.
The second movement of the work is written as Allegro rondo, which is generally known as the most distinctive feature of the classical sonata form. The second movement was created with a simple and unsophisticated thematic form. When looking at the notation of the part, it is seen that the flute and bassoon parts are structured with quarter and eighth notes. As in the first movement, Francois Devienne distributed the solo to three instruments equally. The second movement of the work starts with the introduction of the harpsichord to the main theme. In this simple and unsophisticated theme, there is not any challenging element for the composer in terms of playing technique, and the theme, starting with the presentation of harpsichord, is heard again in eighth meter with the strong dynamic introduction of flute and bassoon. It can be said that the most important detail for the performer in this part is the nuance quality. Even though the second movement does not force the performer in terms of breath and finger technique, it is a part that needs to be paid attention to reveal the colors of the musical form and to show the stylistic features of the period." (Sabriye Özkan)
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Note: The score used (only one available) has countless issues, both in regard to the raw accuracy and engraving. Also, the recording used in this video also had a second, slow movement inserted although, as far as I can tell, there are really only two movements that make up this work.
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[@jacquesgras1084]

Bonjour.
C' est une magnifique interprétation.
Les interprètes font preuve d' une très grande qualité technique et musicale.C' est vraiment superbe!

[@Curocko]

Beautiful and likable melodies ^^ very pleasant

[@BassoFag]

The name from the flutist is Robert Dohn

[@MTMargraf]

What’s with the bit in the bassoon part that goes into treble clef? It goes a little too high for the bassoon to handle

[@0Videoteca0]

It's a guide for the wind instruments which shows the piano part, in order to make easier their entrance.

[@MTMargraf]

@@0Videoteca0 oh, thank you

[@mihalisboufidis8998]

Let our friend @premanadi explain why he asserts these views. If he is a musician, let's say he knew something, but if not, then he better shut up and stop talking nonsense!
I strongly disagree with him, this is a great piece of work far better than many others of its time.
Let's hold our tongue for a moment and look elsewhere for the cause of our reaction!
sorry Michael von Bufendorf!!!

[@premanadi]

Unfortunately, Devienne was a very insipid composer. He uses the basic Classical formula but there is no inspiration; it's just shallow note-spinning.

[@justinh6651]

Wdym?

[@premanadi]

@@justinh6651 He's a third-rate composer.

[@chrisoconnor9521]

I suppose you can do better??? 🙄🙄🙄🙄

[@premanadi]

@@chrisoconnor9521 Yes, I could. In fact, I've written some music in a similar style that was better, IMO. But you don't have to be able to compose in order to judge whether music is good or bad. That's a ridiculous standard. Almost no professional critic can produce good art themselves, but they are still qualified to make a judgment. Also, if the only art or music someone is capable of making is insipid and third-rate, they actually do have the option of not doing it. Brahms, for instance, destroyed a huge proportion of everything he composed, especially his earlier works. He knew they weren't good enough to see the light of day. Devienne seems to have had no idea.

[@chrisoconnor9521]

@@premanadi talk about pretentious.