Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Extensive use of smooth scalic figures is contrasted by more dotted rhythmic material in the central portion. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Author:Tagis Taulkree
Language:English (Spanish)
Published (Last):24 October 2014
PDF File Size:8.83 Mb
ePub File Size:16.30 Mb
Price:Free* [*Free Regsitration Required]

About this Recording 8. It owes much of its relative prominence in French music of the twentieth century to the use made of it in orchestral colouring by composers such as Debussy and Ravel and to the existence of a group of highly gifted players associated in one way or another with the Paris Conservatoire.

Francis Poulenc was one of the group of young French musicians known in the s as Les Six, influenced by the eccentric composer Erik Satie, and friends of Jean Cocteau. His Sonata for flute and piano, a relatively late work, was written between December and March in response to a commission from the Elizabeth Sprague Coolidge Foundation, and duly dedicated to the memory of Mrs Coolidge.

The first movement, marked Allegro malinconico, brings contrasts of mood, with a principal theme of essential poignancy. The second movement, Cantilena, brings a moving melody, the harmony and texture of the piano writing deceptive in its apparent simplicity.

The work ends with a rapid and cheerful Presto giocoso of similarly lucid clarity, its lively course briefly interrupted by a more pensive passage. Olivier Messiaen is among the most influential figures in the music of the twentieth century.

At first alarming and shocking audiences, he later won an unassailable position, respected at home in France and abroad for his achievement through a musical language that is intensely personal, emotional and informed by a deep Catholic piety. Le merle noir The Blackbird , for flute and piano, was written in as a test piece for the Paris Conservatoire.

After the the sustained notes of the piano have died away, the flute plays a solo passage, its inspiration derived from the song of the bird. The piano enters with a phrase immediately echoed by the flute, extended and then returning after an episode recalling the opening. The same material provides the basis for the rapid final section. Pierre Sancan was for nearly thirty years a professor of piano at the Paris Conservatoire, while pursuing a highly successful career as a performer.

A winner of the Prix de Rome in , he has written a variety of music, including an opera, ballets, a string symphony, two piano concertos and other works. His Sonatine, written in as a test piece for the Paris Conservatoire, is dedicated to his colleague there, the distinguished flautist Gaston Crunelle. This is very much in the spirit of Debussy, with a flute melody over a gently accompanying piano texture that is to return in recapitulation after contrasting material.

A short piano passage leads to a ternary-form Andante espressivo of melancholy lyricism. It was for this association that he favoured the flute, both in his orchestral works and in his chamber music. Chant de Linos, also dedicated to Gaston Crunelle, explains, in a superscription, that the Song of Linus was, in Greek antiquity, a kind of threnody, a funeral lament, a plaint interrupted by cries and dances.

The opening section leads to a gentler lament, broken by wild cries before the threnody resumes. Another outburst leads to a dance-like section, moving to music of tamer mood, before the lament briefly returns, followed by a final passage recalling the cries and dance rhythms suggested by what has passed.

The Sonatine for flute and piano by Henri Dutilleux is, again, a test piece for the Paris Conservatoire, with a dedication once more to Gaston Crunelle.

His individual musical language develops from the traditions of Debussy and Ravel, avoiding the programmatic, or dogmatic, and seeking always clarity of texture. In the sonatina the piano introduces the first melody, later taken up and extended by the flute, leading to a secondary melodic element.

Pierre Boulez has exercised great influence as a composer and as a conductor. In the latter capacity he is know principally for his early extension of serialism, under the influence of his teacher Messiaen, into a more comprehensive and logical system that, nevertheless, allows, in his hands, a certain freedom. His Sonatine for flute and piano was written in and first heard in public at a concert in Darmstadt ten years later.

Keith Anderson. Close the window.


Try out

The sonata was commissioned by the American Library of Congress and is dedicated to the memory of Elizabeth Sprague Coolidge , an American patron of chamber music. Poulenc preferred composing for woodwinds above strings. The work was an immediate success, and was quickly taken up in the US, Britain and elsewhere and has been recorded many times. Critics have noted Poulenc's characteristic "trademark bittersweet grace, wit, irony and sentiment" in the piece. In , thirteen years after Poulenc's death, the composer Lennox Berkeley made a well-regarded orchestrated version of the work that has also been recorded.


Flute Sonata (Flute & Piano)

Certain chapters are not available. Thank you for your understanding. On the stage of the Salle Gaveau in Paris, one evening of , before a well-heeled audience, Francis Poulenc at the piano, accompanies his musician friends who interpret his works. This film provides the best possible portrait of the composer. Trained as a pianist, born in in Paris, Poulenc never studied composition at the conservatory, but took lessons with Charles Koechlin. At the beginning of the twenties, he was a member of the Group of Six, composed of composers whose taste for jazz, the music-hall, popular melodies and humour was brought together under the influence of Jean Cocteau. In Francis Poulenc's life friendship plays a Major role.

Related Articles