Kohler, E :: The Storm op. 82, No. 6

The Storm op. 82, No. 6

Kohler, E

International Music Company presents Ernesto Koehler's 'The Storm' op. 82, No. 6 for flute and piano edited by Ransom Wilson.

Ernesto Kohler was born at Modena, Italy, on December 4, 1849. Like many other famous flutists, he came of a musical stock and was reared in a musical atmosphere. While a child he commenced to play the flute under the gentle, affectionate tuition of his father, Venceslau Joseph Kohler, who was first flute in the orchestra of the Duke of Modena. Quantz, Nicholson, Boehm and Briccialdi alike have insisted that there is no royal road to success in flute playing. Natural aptitude, hard work and good teaching have ever been considered the most useful aids to proficiency on what is really a difficult instrument. Young Kohler, besides a natural aptitude for the instrument of his choice, had a good instructor in the father, whose heart was gladdened by the eager willingness and receptive nature of the bright pupil who made such rapid progress. Ernesto pursued his flute and musical studies with such ardor that at an early age he became a first rate performer; and, long before boyhood was over, in company with his brother Ferdinando, a pianist of repute, numerous concert tours were made in Italy with unvarying success. The critics were unanimous in commending the brilliant execution, fine tone, chaste style and general elegance of delivery of the young flute artist; they also remarked the frequent approval of an exacting public. On attaining twenty years of age, in the year 1869, Kohler was desirous of seeing more of the world, and, as might be expected, of obtaining fame and fortune; or, failing that, to at least secure a comfortable musical appointment. At this juncture in the young artist's career the seat of first flute in the orchestra of the Karl Theatre, Vienna, happened to be unfilled, and the young flutist was urged to take the position. He decided to do so, and held the place for about two years; during which time, as opportunity served, he gave flute concerts at various towns in Austria. He also devoted some of his leisure to composition, and published several pieces for flute and piano, the freshness and merit of which at once attracted the attention of continental flute players. The prominent appointments held for so many years by Kohler undoubtedly restricted his fame as a soloist; but any loss in this respect was more than made good by the promises of enduring popularity as a composer. Kohler wrote a number of excellent flute works well planned for educational purposes, and many solos decidedly pleasant to play, which have met the approbation alike of flutists and of the musical public. As a composer, his strong points are melody genuine and spontaneous a good knowledge of the technique of the flute, together with the art of adding appropriate, tasteful accompaniments to all his pieces. In composing for the flute, Kohler, who had many pupils, was mindful of the need of meeting the requirements of medium performers; numbers of his pieces being written for this class of flutists. The concert solos are, of course, composed to exhibit the power of the virtuoso, and will, generally, be found difficult enough. Kohler's enthusiasm and industry were apparently ceaseless. The list of his works passed the hundred mark. This includes a theoretical and practical flute school (which had been adopted at several Continental conservatories of music), numerous flute studies, duets for two flutes, pieces for two flutes and piano, and some scores of bright, melodious arid often charming salon pieces with piano; besides larger works, notably Schwalbenflug , Hirten Idylle , La Romantique , Papillon , Concerto Op. 97 , etc. which have been frequently played by the leading soloists of Europe, America and Australia.

- Ensemble KrazyKat, 2004