Madrigal - Philippe Gaubert (1879-1941)
“Madrigal” was composed in 1908, the year Gaubert’s teacher Paul Taffanel died. The introduction appears to have been inspired by Cesar Franck’s violin sonata, while there is a connection with Faure melodically. This is one of the composer’s best loved pieces, and one that provides a sufficient introduction to the virtues of his several miniatures for the flute: clarity of form, economy of means, and warmth of expression. (Recoding: Flute Studio Recital, Fall 2015)
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Suite for Flute and Piano, Opus 34, Mvt. 4, Final - Charles-Marie Widor (1844 - 1937)
The Suite for Flute and Piano Op. 34 was composed in 1877. The piece is dedicated to Paul Taffanel, a collogue of Widor’s at the Paris Conservatory. Taffanel himself did not perform the piece until 1884. This piece is of the late Romantic style, and has a thick piano texture that is derived from Widor’s influences as an organist. There are four movements: Moderato, Scherzo, Romance, and Final. This recoding is of the fourth movement, Final, which is marked at Vivace. It is in this movement tat the most virtuosic playing for the flute is composed. There are fast chromatic runs, suspenseful pauses, rhythmic intensity, and an overall rushing and building towards the end for a climatic finish. (Recording: Flute Studio Recital, Fall 2017)
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Sonata for Flute and Piano -
Paul Hindemith (1895-1963)
Hindemith was a prolific German composer from 1895-1963. His main contributions include revolutionizing tonality and his Gebrauchsmusik (utility music) which is music for everyday occasions. He taught composition at the Berlin Music Academy and later at Yale and Zurich Universities.[1] His Sonata for Flute and Piano was composed in 1936 for flutist Gustav Scheck. It has three movements: Heiter bewegt, Sehr langsam, and Sehr lebhaft. It is in an anti-Romantic style with motivic developments. The overall piece is upbeat, but has darker undertones that reflect the turmoil in early Nazi Germany. The first movement is in Sonata form. The Primary theme is warm and charming and is the basis for the variants and motifs throughout the movement. The development section goes through several keys and quicker triplet rhythms. There are many keys throughout the piece and the themes often come back and are varied. The flute melodic theme is bright and upbeat, while the piano has more unsettling harmonies, that helps to hint at the turmoil. But, in the end, after many key changes, it ends happily in B-flat major. (Recording: Flute Studio Recital, Spring 2018)
Nocturne and Allegro Scherzando -
Philippe Gaubert (1879-1941)
Philippe Gaubert was a prolific flutist, composer, and conductor. He began his musical career studying under his father before studying under Jules and Paul Taffanel at the Paris Conservatoire. Later in his life, he succeeded Paul as professor of flute at the Paris Conservatoire. Aside from performing and conducting, Gaubert was a prominent composer whose works varied from chamber music and orchestral works to ballets and operas.[1] Nocturne and Allegro Scherzando is a piece for flute and piano composed in 1906. The opening flute melody in the Nocturne, is low in the register and is reminiscent of the Impressionist style of Debussy. The opening theme, in the flute melody, is repeated, adapted, and developed over the courses of the Nocturne, both in the flute and piano. After the dark tones of the Nocturne, the second half, Allegro Scherzando, provides and light and playful contrast. While the Nocturne showcases the expressivity of the performer, the Allegro Scherzando displays the virtuosity. With its quick tempo, changing rhythms, and fast passages the Allegro Scherzando provides an existing finish to this masterful piece. (Recording: Flute Studio Recital, Fall 2018