Madrigal - Philippe Gaubert (1879-1941)
Philippe Gaubert was born into a musical family on July 5, 1879. His father, an amateur clarinetist, taught hi his first music lessons. Gaubert originally started out on violin, but later chose to pursue the flute. Around this time, his family moved to Paris were he studied the flute with Jules Taffanel and Taffanel’s son Paul. While originally he sought only private lessons, Gaubert eventually attended the Paris Conservatoire in 1893 when Paul Taffanel became the flute professor. Throughout his time at the Conservatoire, Gaubert won many awards including the first prize in 1894 and the 2nd Prix de Rome in 1905. Later on, Gaubert transitioned from flute to conducting. He became the second conductor for the Paris Opera, and later in 1920 he was promoted to principal conductor, serving in that role until 1938. After serving in World War I, he became the professor of flute at the Paris Conservatoire, and held that position until 1939. In addition to conducting and playing the flute, Gaubert was a prolific composer. He composed works from chamber music (featuring the flute), to operas, ballets, and orchestral works. Then, in 1941, he died unexpectedly of a cerebral hemorrhage.[1]
“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.[2]
[1] Patmore, David. "PHILIPPE GAUBERT." Philippe Gaubert- Albums, Pictures – Naxos Classical Music. Naxos Rights International Ltd. Web. 22 Sept. 2015.
[2] "Madrigal (P. Gaubert) - Free Flute Sheet Music." Madrigal (P. Gaubert). Flutetunes.com. Web. 22 Sept. 2015.
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Fantasy in A Minor - Georg Philipp Telemann (1681-1767)
Among the most prolific and most famous composers of his generation, Telemann was born in 1681 at Magdeburg and educated at the University of Leipzig. Telemann has established himself in Hamburg in 1721 as Cantor of the Johanneum and director of music for the five principal city churches. He remained in Hamburg until his death in 1767, when he was succeeded by his godson, Carl Philipp Emanuel Bach, son of Johann Sebastian Bach. In his long career Telemann wrote a great deal of music of all kinds in a style that extends the late Baroque into the age of Haydn.[1]
The second of the Telemann Fantasias for Solo Flute is in the key of a minor and composed in 1732. Its opening is marked “Grave” and sets a deep and serious tone. While beginning with a tonic chord, the Grave ends with a dominate which leads straight into the lively Vivace. The Vivace brings out even more of the fantasy’s compound melody. Following the lively Vivace is an Adagio. The Adagio contrasts the Vivace by being more restful and at ease as well as being composed in C major instead of a minor. Finally, a two part “A and B form” Allegro in 2/4 brings a light and happy close to the Fantasia.[2]
[1] "GEORG PHILIPP TELEMANN ." Georg Philipp Telemann- Bio, Albums, Pictures – Naxos Classical Music. Naxos Classical Archives. Web. 10 Nov. 2015.
[2] "Fantasia No. 2 in A Minor from 12 Fantasias for Solo Flute (G.P. Telemann) - Free Flute Sheet Music." Fantasia No. 2 in A Minor from 12 Fantasias for Solo Flute (G.P. Telemann). Flutetunes.com. Web. 10 Nov. 2015.
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Romance - Philippe Gaubert (1879-1941)
Philippe Gaubert was born into a musical family on July 5, 1879. His father, an amateur clarinetist, taught him his first music lessons. Around this time, his family moved to Paris were he studied the flute with Jules Taffanel and Taffanel’s son Paul. While originally he sought only private lessons, Gaubert eventually attended the Paris Conservatoire in 1893 when Paul Taffanel became the flute professor. Throughout his time at the Conservatoire, Gaubert won many awards including the first prize in 1894 and the 2nd Prix de Rome in 1905. After serving in World War I, he became the professor of flute at the Paris Conservatoire, and held that position until 1939. In addition to conducting and playing the flute, Gaubert was a prolific composer. He composed works from chamber music (featuring the flute), to operas, ballets, and orchestral works. Then, in 1941, he died unexpectedly of a cerebral hemorrhage.[1]
​Romance, which premiered in 1905, has an A-B-A form covering a wide range of emotions, intervals, chromatics, and complex rhythms. It begins with a lyrical moderato section in A major. The melody is passed back and forth between the flute and piano before modulating and becoming more animated through the use of chromatics. The animato continues to build until the transition into second section, in B-flat major. This section is full of syncopation, chromatics, and a range of tense emotions to more expressive climaxes. Romance finishes out with a return to the beginning lyrical moderato theme. Although challenging, Romance is a riveting and stirring piece for aspiring flautists. [2]
[1] Patmore, David. "PHILIPPE GAUBERT." Philippe Gaubert- Albums, Pictures – Naxos Classical Music. Naxos Rights International Ltd. Web. 22 Sept. 2015.
[2] "Philippe Gaubert: Romance for Flute and Piano." Musicroom. Web. 02 Mar. 2016.
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Partita in A minor - Johann Sebastian Bach (1685-1750)
Johann Sebastian Bach was born to a musical family in 1685 Eisenach, Germany and later died by stroke in 1750. Bach’s talent as an organist and composer saw him sought after all across Germany. As a composer, Bach wrote many sacred works as part of the requirement of his church employment as well as his devout belief in Lutheranism. Over the course of his lifetime, Bach composed hundreds of works from sonatas to partitas, cantatas, and fugues for a wide variety of instrumentation. With his death, music scholars mark the end of the Baroque era in music. [1]
Partita in A minor for solo Flute is comprised of four movements that correspond to various dances at the time: the German Allemande, Italian Courante, Sarabande, and French Bourrée Angloise. The opening Allemande is the lengthiest of the four movements as it accompanies the German processional couple dance of the same name. The Courante is of the livelier Italian-derived variety, relatively quick-tempoed and in simple triple meter. This movement keeps the dancers on their toes as they danced with their back-and-forth swinging steps. The third movement of the Partita is an aristocratic Sarabande of ingenious rhythmic flexibility. This movement is to played slower and more serious, in order to accompany the slow and serious dance. The Bourrée Angloise which closes the Partita is probably the most immediately arresting of the four movements. It is built around a typical “backwards” short-short-long rhythm which mimics the quick, skipping steps of this classic French folk dance. [2]
[1] Sherrane, Robert. "Johann Sebastian Bach." Music History 102. 2012. Web. 06 Apr. 2016.
[2] "Allemande from Partita in A Minor for Solo Flute (J.S. Bach) - Free Flute Sheet Music." Allemande from Partita in A Minor for Solo Flute (J.S. Bach). Flutetunes.com, 29 Sept. 2013. Web. 06 Apr. 2016.
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Syrinx - Claude Debussy (1862-1918)
Debussy was born in Saint-Germain-en-Laye, France in 1862. He began learning the piano at an early and by age eleven, he was admitted to the Paris Conservatory. Many years later, at the age of twenty-two, he won the Prix de Rome and studied in Rome for a few years before returning to France. By the twentieth century, he was regarded as the leading composer of French music. Today, he is viewed as the father of musical impressionism. Unfortunately, his career came to an end in 1918 with his death by colon cancer.[1]
Syrinx was composed in 1913. Originally, it was intended to be performed off stage as part of Gabriel Mourey’s play: Psyche. Syrinx brings Debussy’s impressionist style to solo repertoire by allowing the performer room for interpretation and emotion. The piece is based on the mythical pursuit of the Greek god Pan after his nymph lover Syrinx. Pan was madly in love with Syrinx; however, the feeling was not mutual. In order to escape her “lover,” Syrinx transformed into a grouping of river reeds hiding in the riverbed. After a futile search, Pan gave up and mourned the loss of his love. In his morning, he cut the river reeds in order to make a pan pipe, thus murdering his love and losing her forever. Debussy’s Syrinx captures the emotion and anguish of this classic story. The opening phrase mimics Pan calling out to Syrinx which is repeated in various forms. The piece continues to grow with more runs and dynamic variations to match the growing worry of Pan during his search. The piece concludes with soft lower register as Pan mourns the loss of his love. [2]
[1] "Claude Debussy Biography." Bio.com. A&E Networks Television, 22 Apr. 2015. Web. 07 Sept. 2016.
[2] "Syrinx (C. Debussy) - Free Flute Sheet Music." Free Flute Sheet Music. N.p., 25 Aug. 2009. Web. 07 Sept. 2016.
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Winter Spirits - Katherine Hoover (b. 1937)​
Katherine Hoover was born in West Virginia in 1937. At some point she learned the play the flute, studying with Joseph Mariano, and later with William Kincaid in Philadelphia. In 1959 she received her Bachelors in Music Theory as well as a Performance Certificate in Flute from the Eastman School of Music. She also completed her Masters in Music Theory at the Manhattan School, while on faculty there. Early on she began her career as a composer and flutist. From this occupation she received numerous awards including: A National Endowment Composer’s Fellowship in 1979 and an Academy of Arts and Letters Academy Award in Composition in 1994. In addition, many of her flute compositions have won the National Flute Association’s Newly Published Music Competition, including “Kokopeli.” As a flutist, she has performed concertos at Lincoln Center as well as performed with ballet and opera companies throughout New York. Today, she continues her career as an active composer, flutist, conductor, and author in New York.
“Winter Spirits,” like many of Hoover’s compositions, derives its inspiration from Native American culture. More specifically, this piece is inspired by Maria Buchfink’s painting “Kachinas.” This painting depicts a Native American flutist, who’s flute appears to conjure many Native creatures and spirits around him. Hoover’s “Winter Spirits” compliments this painting by placing the performer as the flutist in the painting, calling forth various spirits. With this in mind, the piece has many sounds and styles similar to a Native flute. This produces a almost primal quality to the tonality of the music. The flute supplicates in swirls of notes, at first in pleading way and then with increasing power. There is a dance-like passage of staccato notes, and then a rising burst of completion at the end. It is a most attractive work, and seemingly difficult, particularly in its demand for long, sustained tone and a variety of color sufficient to sustain interest for its five-minute length.
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Sonata for Flute and Piano - Francis Poulenc (1899-1963)
Poulenc was a largely self-taught French composer during the 20th century. He was born in 1899 and died in 1963. During the 1920’s he was a member of “Les Six” alongside Arthur Honegger, Darius Milhaud, Georges Auric, Germaine Tailleferre, and Louis Durey.[1]
During the early 1950’s Poulenc began working on a Sonata for Flute and Piano. Then in 1956, he was commissioned by the Coolidge foundation to compose a chamber work. Therefore, he finished his Flute Sonata and dedicated it to the memory of Elizabeth Coolidge, a deep support of chamber music.[2] Poulenc premiered the piece alongside Jean-Pierre Rampal at the 1957 Strasbourg Festival. The Sonata for Flute and Piano has three movements: Allegretto malincolico, Cantilena, and Presto giocoso. Although titled “Sonata for Flute and Piano’ the movements are structured in ternary form, rather than sonata form. Debussy’s late instrumental sonatas influenced Poulenc’s Sonata for Flute and Piano and he describes his work as “simple but subtle.” The sonata is characteristic of Poulenc’s style including features such as incisive rhythms, mauvaise musique, and abrupt shifts in moods. Poulenc’s Cantilena is very song-like with it’s smooth passages and sustained lyricism. If you listen closely, you can imagine yourself walking the streets of Paris at night, bathed in moonlight.
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[1] The Editors of Encyclopædia Britannica. "Francis Poulenc." Encyclopædia Britannica. Encyclopædia Britannica, inc., 20 Apr. 2009. Web. 29 Mar. 2017.
[2] "Poulenc: Sonata for Flute and Piano Program Notes." Between the Ledger Lines. N.p., 30 Nov. 2015. Web. 29 Mar. 2017.
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Piece per flute Seule - Jaques Ibert (1890-1962)
Jacues Ibert was a French composer born ing Paris in 1890 and died in 1962. His composed a wide variety of works covering many genres. He composed Piece pour flute seule in 1937 for Marcel Moyse as an encore after Moyse’s performance of Ibert’s Flute Concerto that evening a the French Embassy in Prague. Piece for Solo Flute is structured in ABA’ form. The opening section is a lyrical and flowing melody which features many large leaps as it transitions from triple and duple meters. The B section is a livelier section marked “vivo” that showcases the technical ability of the perform. The A section then returns, but this time in the higher octave. Ibert adds a few flourishes to this section to add a more improvised feeling. And the piece closes for a calm ending as it disappears into the silence. [1]
[1] Alexandra Laederich. "Ibert, Jacques." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 12, 2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/13675.
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Suite for Flute and Piano, Opus 34 - Charles-Marie Widor (1844-1937)
Charles Marie Widor (1844-1937), is a French composer whom is well known for his Organ playing and compositions. He composed the Suite for Flute and Piano Op. 34 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. I will be performing 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.[1]
[1] “Suite for flute & piano, Op. 34 | Details.” AllMusic, www.allmusic.com/composition/suite-for-flute-piano-op-34-mc0002366249.
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Ballade - Carl Reinecke (1824-1910)
Carl Reinecke was born on June 23, 1824 in Germany. His music education is mostly from his father. Reinecke also taught at the Leipzig Conservatory. in Leipzig, he made many great contributions to the Conservatory while also composing. He is known for his piano concertos, chamber music, and his popular flute composition, Undine. His overall composing style was influenced by Mendelssohn and Schumann, and includes pleasant melodies along with flowing lines. Ballade op. 288 was the last piece that Reinecke wrote and is ABA’ form. The piece begins in a serious D minor with a lyrical melody in the piano, then passed on to the flute. The B section is a livelier passage that requires technical agility from the performer. The opening theme returns in the A’ section and modulates to a cheerful D major. This composition is very expressive and lyrical, following the over the top feel of music written in the romantic era.[1]
[1] Sietz, Reinhold. "Reinecke, Carl." Grove Music Online. Oxford Music Online. Oxford University Press, accessed 4 December 2017.