Fantasia G major 梅卡旦特 幻想曲大調 長笛獨奏 齊默爾曼版
梅爾卡丹特深受當時許多作曲家的尊敬。梅爾卡丹特在那不勒斯學校的老師們不僅提出了 "整個管弦樂隊的效果應永遠優先于單件樂器的效果 "的格言，還對室內樂表現出了極大的興趣。與羅西尼、貝裡尼和多尼采蒂不同，梅爾卡丹特在完成音樂培訓後繼續創作器樂曲。通過這種方式，他逐漸找到了自己的音樂語言，將音樂的抒情性和器樂的華麗性融為一體，同時也豐富了他對各種樂器的知識。本作品中的奏鳴曲和為長笛獨奏而作的幻想曲（參見 ZZM 31140）均由第二支長笛或小提琴自由伴奏，反映了梅爾卡丹特多年來積累的豐富樂器知識"
作曲家: Mercadante, Saverio
編者: Petrucci, Gian-Luca
樂器: flute (2. flute or violin ad libitum)
出版社: Musikverlag Zimmermann
Mercadante was highly respected by many composers of his time. As well as postulating the maxim that the effect of an entire orchestra should always be given priority over the effect of a single instrument, Mercadante's teachers at the Neapolitan school also showed great interest in chamber music. In contrast to Rossini, Bellini and Donizetti, Mercadante continued to compose instrumental music after finishing his musical training. By doing so, he gradually found his own musical language which combined the pleasures of musical lyricism and instrumental bravura while also enlarging his knowledge of individual instruments. Both the fantasia presented here and the sonata (cf ZZM 31150) for solo flute with ad libitum accompaniment of a second flute or violin reflect the vast instrumental knowledge which Mercadante acquired over the years.