Rochberg / Jennings / Han / Johnson - Complete Flute Music 1 - COMPACT DISCS [CD]

Jacques Casterede's distinguished career was centered in Paris, but with musical roots in the early twentieth-century traditions of neo-Classicism and Les Six- the wide variety of scope and intent in his work was never meant to compete with the radical avant-garde. The balletic Flutes en vacances has become one of his most popular pieces, while Ciels ('Skies') was a competition piece for the Conservatoire. The colors in Trois moments musicaux d'apres Corot depict paintings in sound while the Sonatine de Mai is more neo-Classical in mood. Album Tracks 1. Sonatine d'Avril for flute and guitar~I. Allegro, non troppo vivo 2. Sonatine d'Avril for flute and guitar~II. Ben moderato 3. Sonatine d'Avril for flute and guitar~III. Tema con variazioni 4. Trois moments musicaux d'après Corot for flute, clarinet, violin, cello and piano~I. Mortefontaine 5. Trois moments musicaux d'après Corot for flute, clarinet, violin, cello and piano~II. Fontainebleau - Les Rochers 6. Trois moments musicaux d'après Corot for flute, clarinet, violin, cello and piano~III. L'Église dans les arbres 7. Flûtes en vacances for three flutes with a fourth ad libitum~I. Flûtes pastorales 8. Flûtes en vacances for three flutes with a fourth ad libitum~II. Flûtes joyeuses 9. Flûtes en vacances for three flutes with a fourth ad libitum~III. Flûtes rêveuses (Flûte 4 tacet) 10. Flûtes en vacances for three flutes with a fourth ad libitum~IV. Flûtes légères 11. Ciels for flute and piano~I. ...de novembre Gris et tanquille 12. Ciels for flute and piano~II. ...de mars Vif et ensoleillé 13. Sonatine de Mai for flute and harp~I. Allegretto piacevole 14. Sonatine de Mai for flute and harp~II. Chanson de la brise 15. Sonatine de Mai for flute and harp~III. Dans le bleu de la nuit 16. Sonatine de Mai for flute and harp~IV. Final

When spirits are low, the music of Jacques-Martin Hotteterre is sure to raise them. Now the most celebrated member of a distinguished family of flute makers and players, he paid his way into the French royal court through his father's well-rewarded success, and became 'grand hautbois du roy'. In turn he passed the post on to his son, who married the daughter of the organist Balbastre. Even taking into account the prolific output of his contemporary Boismortier, there is surely no more dazzling and uplifting Baroque music composed for the flute and recorder than the suites of Hotteterre which are presented here complete in new recordings, led by the Madrid-based musician Guillermo Peñalver the sessions took place in the magnificent chapel of San Lorenzo in the city's Escorial Palace. Several quicker movements present the soloist with considerable technical challenges. The Allemande of the Third Suite appears to imitate waterfalls from the fountain in the gardens of Saint-Cloud through descending arpeggios. Yet the virtuosity is always lightly worn in Hotteterre, never written for the sake of sheer display but always to charm and delight the listener. Within the same suite is one of his most beautiful pieces, Le Plaintif; a simple rondeau with subtle, imperceptibly entangling ornamentation. In addition to the suites, Peñalver presents several brief flute solos, and then the two extraordinary Préludes in which Hotteterre sums up and condenses all of his skill, artistry and science. While nominally cast in D major and G minor, each of them moves through every key belonging to their respective scales in a remarkable feat of compositional ingenuity, introducing abundant changes of mood and character along the way so much for the commonplace idea of the French Baroque as a polished idiom as orderly as the courtly etiquette which accompanied it.

Andre Jolivet wrote for the flute throughout his entire compositional career. His understanding of the instrument's character was unrivalled and his contribution to it's repertoire stands among the greatest in the 20th century. In his absorption of influences, from jazz to Middle Eastern music, he established a new tone for the flute, the oriental infusions of which can be heard in Cinq Incantations. Chant de Linos, his most popular flute piece, offers a mythic panorama full of lamentation and dance, while the rhythmically complex Flute Sonata and the lyric elements in Asceses affirm his musical convictions. Born in 1990, Helene Boulegue was appointed second flute of the Orchestra PHilharmonie Luxembourg at age 19, just six months after having started at the Paris Conservatoire where she studied with Pierre-Yves Artaud and Florence Souchard-Delepine. She went on to study for a Masters degree at the Hochschule fur Musik Karlsruhe, Germany with Renate Greiss-Armin, and was awarded Second Prize at the Prague Spring Competition in 2015 and First Prize at the Kobe International Flute Competition in 2017. Album Tracks 1. Ascèses ('Ascetic Practices') (Version for Alto Flute) (1967) 2. Fantasie-Caprice (For Flute and Piano) (1953) 3. Cabrioles ('Antics') (For Flute and Piano) (1953) 4. Incantation 'Pour Que L'image Devienne Symbole' ('In Order That the Image Might Become a Symbol') (Version for Alto Flute) (1937) 5. Flute Sonata (1958) 6. Cinq Incantations ('Five Incantations') (For Solo Flute) (1936) 7. Chant de Linos ('Song of Linos') (Version for Flute and Piano) (1944)