[25] While working on it, Berkeley wrote in his diary: The musicologist Roger Covell wrote of Berkeley's orchestration, "It is hard to imagine the job being done better … this sonata-concerto has Poulenc's characteristic and attractive mixture of flippancy and tenderness". [24] There have been many subsequent recordings of the sonata. I will begin the realization. In January 1959 he accompanied Gareth Morris in the British premiere, in an all-Poulenc programme that included the world premiere of his Élégie in memory of Dennis Brain for horn and piano. 120, Nos. [9] The score was published in France and Britain shortly after the premiere. Poulenc: Sonata for Flute and Piano Program Notes. The Sonate pour violon et piano (Violin Sonata), FP 119, by Francis Poulenc was composed in 1942–1943 in memory of the Spanish poet Federico García Lorca.The score, dedicated to Poulenc's niece Brigitte Manceaux, was published by Max Eschig.The work was premiered by the violinist Ginette Neveu with the composer at the piano on 21 June 1943 in Paris, Salle Gaveau Having sung his tender song, Poulenc devises a virtuosic finale that is nearly all one big elbow in the ribs. Spivacke again offered the commission in May, and this time Poulenc responded in August when he noted that the opera was in order and he could write something for him. For details on how we use cookies, see our. The execution time of each movement is about 5 to 6 minutes. Dr. Amanda Cook maintains a unique, versatile, and active career as a flutist, educator, editor, writer, and music critic. Jean-Pierre Rampal gave the unofficial premiere of the work with Poulenc at the piano, and recalled learning of the commission in his autobiography: ‘Jean-Pierre,’ said Poulenc: ‘you know you’ve always wanted me to write a sonata for flute and piano? [1][5][12] A counter-theme in F major gives the flute upwardly-leaping arpeggios, before the opening theme returns in A minor. It is dedicated to the memory of Elizabeth Sprague Coolidge, an American patron of chamber music. He premiered the piece with the flautist Jean-Pierre Rampal in June 1957 at the Strasbourg Music Festival. [11] MacDonald comments that the opening "makes clear the composer’s elegiac intentions", and other analysts write of the "poignancy" of the principal theme, despite the seemingly vivacious tempo. ( Log Out / “Poulenc, Francis.” Grove Music Online. Well, I’m going to,’ he said. ( Log Out / Francis Poulenc (1899-1963) was a French composer and pianist who, along the other members of Les Six, sought to liberate French classical music from foreign influence. [2] The writing of the sonata was largely due to the insistence of Ginette Neveu whom he did not want to antagonize and who gave him many tips for the violin part. [It] adds a worthwhile new dimension to the music: the long-drawn sad melodic lines played by the flute, especially in the first two movements, are complemented in a way not possible on the piano". He thought little of his own sonatas for cello and for violin. [2] Poulenc was too busy to accept, but Spivacke persisted. Just after World War I he wrote a few other wind sonatas as well, for example a Sonata for two clarinets (FP 7a, 1918, revised 1945), a sonata for clarinet and bassoon (FP 32a. Flute Sheet Music. The violin prima donna over piano arpeggio makes me vomit. [20] The composer is reported to have said that the movement should be played as quickly as possible because "it isn't any good" (he probably would have liked more time to work on it)[1] but others have found it "masterly"[18] and "a perfect conclusion". As early as 1918, he made sketches for a violin sonata, which he later destroyed. © 2020 Los Angeles Philharmonic Association. Not only is the main theme as frivolous as possible, but the movement is shot through with a very brief snatch of Bach’s Badinerie (from the Suite No. Change ), You are commenting using your Google account. [1], Poulenc considered giving the American premiere together with Rampal during a planned US tour, but the tour did not take place and Rampal gave the American premiere in February 1958 with his regular accompanist Robert Veyron-Lacroix. [21] Poulenc was pleased to accompany other flautists in the sonata. Francis Poulenc (1899-1963) was a French composer and pianist who, along the other members of Les Six, sought to liberate French classical music from foreign influence. Flute Sonata, FP 164 (Poulenc, Francis) This work is likely not in the public domain in the US (due to first publication with the required notice after 1924, plus renewal or "restoration" under the GATT/TRIPS amendments), nor in the EU and those countries where the copyright term is life+70 years. Oxford Music Online.Oxford University Press, accessed December 11, 2013, http://www.oxfordmusiconline.com/subscriber/article/grove/music/22202. Play Your Part, support the LA Phil. The Coolidge Foundation contacted Poulenc in 1956 and offered him a commission for a piece of chamber music. All flautists will wish to include it in their repertoire.’ [16], This movement (♩=160–168) is predominantly extrovert and fast; the beat is a strongly marked 24. ( Log Out / Notes to Naxos CD 8.553611, MacDonald, Malcolm (2013). From the point of view of harmonic style, this movement is the least in the usual language of the composer[4] and denotes a "vaguely Spanish" memory. My Buffet R-13 Bb clarinet Side note: Brahms’ clarinet sonatas (Op. [6], The sonata was judged harshly by critics. The song-like middle movement is so Parisian-caféish, it could easily have (French) boy-girl-moon-June lyrics. Poulenc preferred composing for woodwinds above strings. The shape is roughly that of a rondo with choruses and verses, but Poulenc treats the form freely. Critics have noted Poulenc's characteristic "trademark bittersweet grace, wit, irony and sentiment" in the piece. [10] This is followed by an upward scale by both flute and piano leading to a contrasting theme, also descending. The monster is finished. His deep Catholic faith inherited from his father and his mother’s artistic influence created a duality of sacred vs. profane that permeated many of his works. The in-turn breathy sensuousness and penetrating brilliance of the flute, an instrument beloved by French composers, are perfect timbral qualities for music by Poulenc. [28], In working on this Flute Sonata I have the feeling of going back a long way, but with a more settled technique. And as a bonus, a lovely recording of the Poulenc Sextet. ... Another difficulty is that Francis, though there are things I love in his music, has passages that are strangely clumsy and that I long to rewrite, but of course I can't add or subtract anything and I should only spoil the whole thing … I have to think all the time of how he would have wanted it to sound.