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Makoto Ueno & Kazunori Seo
The Japanese flautist Kazunori Seo has earned a reputation as one of the world’s outstanding flautists through numerous appearances as a concerto soloist, recitalist, chamber musician and recording artist. A prizewinner at several international competitions (notably the Carl Nielsen and Jean-Pierre Rampal in 1998, and the Geneva in 2001), he went on to win the Pro Musicis International Award in Paris in 2005. This month sees the release of Kazunori Seo's fifth album for Naxos, featuring music by the early 19th-century Austrian composer, Carl Czerny.

Kazunori Seo is regularly accompanied by the Japanese pianist Makoto Ueno. An international recitalist and concerto soloist, Makoto Ueno is equally at home performing on modern concert grands as on historical instruments, often performing and recording on Viennese and British fortepianos dating from 1810 to the 1820s.

Click here to visit Kazunori Seo's website.

  CZERNY, C.: Flute and Piano Music
3 Rondeaux Faciles et Brillans /
Introduction, Variations and Finale / Duo Concertant

Kazunori Seo, Makoto Ueno

Virtuoso pianist Carl Czerny was a pupil and friend of Beethoven in Vienna. His prodigious output as a composer included numerous sets of variations on operatic themes, both with orchestra [Naxos 8.573254] and, as with the Trois Rondeaux, Op. 347 on themes by Rossini and Bellini, in the form of entertaining chamber music. With its cadenza and technical flourishes the Introduction, Variations and Finale, Op. 80 is composed in true concerto style, while the elegance and refined artistry of the Rondoletto and Duo concertant are both characteristic of a Classical master whose works have only recently started to gain wider recognition.

Listen to an extract from
Duo Concertant in G Major, Op. 129: II. Scherzo

Other discs featuring Kazunori Seo

Franz and Karl DOPPLER
Music for flutes and orchestra

“Gallois and Seo once again give an inspirational performance ... their ensemble playing is truly spectacular. Thoroughly enjoyable, with excellent playing throughout.”
MusicWeb International

  Listen to an extract from Duettino sur motifs americains, Op. 37

Music for flute and piano

“Kazunori Seo and Makoto Ueno
excel in wonderful fashion.”

  Listen to an extract from Divertimento a la Savoyarde in
A Major, Op. 78


The full scores, study scores and orchestral parts for all the flute concertos included on these two discs are available from Artaria Editions.

“Artaria's publications are changing fundamental perceptions about music of the late eighteenth century, particularly due to our work with Naxos, the world's leading classical music label. For the first time in centuries, it is possible to read the score and hear the music that influenced the greatest composers of the era. From being relegated to the footnotes of music history, music by composers such as Beck, Dussek, Hofmann and Wanhal is now returning to the air. Performances of Artaria editions increase yearly.”
Artaria Editions

More music by composers featured in Artaria Editions

Franz Ignaz BECK
Symphonies, Op. 2

“…Kevin Mallon leads the Thirteen Strings Chamber Orchestra with real pep and sure understanding of these works, producing performances that are as vivid and expressive as they can be...”


“All of the performances by the Toronto Chamber Orchestra under conductor Kevin Mallon are superb. The precision, sense of dynamics, and boundless energy he brings to these classical miniatures is exceptional.”
Classical Lost and Found

Franz Xaver DUSSEK

“From the very first entry this Dussek disc grabs your attention. It’s rather special and at bargain price it needs to be snapped up.”
MusicWeb International

Five Symphonies

“I don't think that Hofmann could have wished for much better advocacy.”

Joseph Martin KRAUS
Arias and Overtures

“The string playing here is polished and mellifluous, on a par with the best period orchestras around. Conductor Häkkinen ... inspires his forces to play with vigor and precision.”

Franz Xaver RICHTER
Grande Symphonies (1744)

“If you ... like music that stands on the cusp between the Baroque and early Classical periods, drawing in unpredictable fashion from both, look no further.”

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