Interpreting the Flute Works of Jean Françaix (1912-1997) by Abby Bridgett Grace Fraser BMus (Hons) Submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (Music Performance) Conservatorium of Music University of Tasmania September 2011 Declaration This exegesis contains the results of research carried out at the University of Tasmania Conservatorium of Music between 2008 and 2011. It contains no material that, to my knowledge, has been accepted for a degree or diploma by the University or any other institution, except by way of background information that is duly acknowledged in the exegesis. I declare that this exegesis is my own work and contains no material previously published or written by another person except where clear acknowledgement or reference has been made in the text. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Signed: _____________________ Abby Fraser Date: ___________________ ii Acknowledgements I would like to acknowledge my wonderful supervisory team, Dr Anne-Marie Forbes, Dr Heather Monkhouse, and Fiona Perrin, and acting head of school, Dr Andrew Legg for their great wisdom, inspiration and continuous support. Soon-to-be-Dr Matthew Ives for his camaraderie. Dr Carolyn Philpott for her endless encouragement. Juliet Beale, Geoff Green and David Harvey for their lovely librarianship. Lloyd Hudson, Douglas Mackie, Andrew Macleod, Alexis Kenny, Jean Ferrandis, and Wissam Boustany for the extra flute lessons. My terrific translators, Beryl Sedivka and Delphine Lannuzel. Fellow Jean-Pierre Rampal enthusiasts, Alan Hardy, Margaret Crawford, Denis Verroust and the Association Jean-Pierre Rampal. Thank you to my examiners for their careful reading and listening of my exegesis and recordings. Associate artists for their time and talent; brilliant pianists, Karen Smithies, Gabriella Pusner, Michael Curtain and Hans Kooij, splendid strings, Robert Osler, Paul Taylor and Daniel Lopez, and wonderful wind and brass, Melinda McNicol, Renée Badcock, Dafydd Camp, Mitch Ellis, John Panckridge, John Myatt, Rosemary Antonini, Greg Taylor, Mandy Parsons and Heath Parkinson. Matthew, Steve and Charles for helping me to swing! Stewart Long for his super sound engineering. Frances the-bringer-of-Joy Wilson. Jacques Françaix for his time and support of this project and having the answers to all of my questions! Emilio and Paolo Pessina for their assistance and kindness. Enormous thanks to all of my friends and family, in particular, Mum (thank you for the wardrobe of lovely dresses), Dad (thank you for the laughter) and Catty (co-stylist with Mum and craft extraordinaire). Lovely Kay and June (for their great audience participation), Anna (for the crochet) Laura (for the cups of tea), Martina (for the macarons), Crystal (for the musical banter), Helena (for the proof reading) and Pete (for the French cuisine). The Badcocks and the Frasers, for their constant love and support and endless thanks to my wonderful husband, Alex, for his unwavering encouragement, companionship, and for believing in me. And finally, thank you Jean Françaix, for giving me something so incredibly pleasing to research! iii Abstract There is surprisingly little written about French composer Jean Françaix (1912-1997), considering his prolific output of around 200 works. In addition to his numerous compositions, Françaix was a talented orchestrator, conductor and pianist, touring extensively throughout his lifetime. Over a quarter of his music was written for wind instruments, and more than forty of these works are for flute, either as a prominent solo instrument or in a chamber music setting. Although Françaix’s flute works are technically demanding, they are pleasing to the ear, reflecting his desire to create ‘musique pour faire plaisir’. This research explores the translation of this aim through Françaix’s flute music documented in a series of recitals featuring his works and an accompanying exegesis. The written component contextualises the works performed, interrogating the composer’s objectives through research of the historical background and the technical and expressive mandate of these works. Twelve of Françaix’s flute works have been chosen for this study, evenly soloistic and chamber oriented, representing the style and various genres of his flute music. Ranging from his Suite pour Flûte Seule to the Quintette à Vent No. 1, these works display characteristics of Françaix’s compositional style, including his use of neoclassical techniques, modern harmonies and rhythms and his inherent French wit. As the majority of literature on Françaix consists of reviews and brief mentions in passing, there is little dealing with the interpretation of his music. Pedagogical aids and recordings form necessary documentation for the analysis of Françaix’s intended style. With informed knowledge of flautists, such as dedicatee Jean-Pierre Rampal, and various educational manuscripts of the time, new ideas are explored. iv Reference is made to performance perspectives and solving technical issues in order to answer the question of how to make this highly virtuosic music sound easy, and create music that pleases audience and performers alike. Through exploration of the context and aesthetic aims of his flute compositions, this original contribution restores to the flute repertory the quality compositions of Jean Françaix. v Contents Declaration................................................................................................................ ii Acknowledgements.................................................................................................. iii Abstract iv List of Figures......................................................................................................... vii Introduction: Literature review of Jean Françaix, his contemporaries and the context of his flute works in twentieth-century France ............................1 Chapter 1: Jean Françaix as composer and performer and the dedication and reception of his works..........................................................................23 Chapter 2: Characteristics of Françaix’s compositional style ....................................43 Chapter 3: Performing Françaix’s flute works ..........................................................92 Conclusion .............................................................................................................141 Appendix A: Composition details of the twelve flute works by Jean Françaix chosen for this research..............................................................143 Appendix B: Contents of CDs ................................................................................146 Appendix C: Program Notes...................................................................................150 Appendix D: Additional concerts undertaken during candidature ...........................168 Appendix E: Presentations throughout candidature.................................................172 Appendix F: Media releases ...................................................................................173 Bibliography ..........................................................................................................178 Discography...........................................................................................................184 vi List of Figures Figure 1. Jean Françaix, Musique de Cour Ballade (flute), bars 1-8. .........................48 Figure 2. Jean Françaix, Musique de Cour Badinage, bars 96-102. ...........................48 Figure 3. Jean Françaix, Concerto pour Flûte et Orchestre Presto (flute), bars 10-17...................................................................................................49 Figure 4. Jean Françaix, Concerto pour Flûte et Orchestre Andantino (flute), bars 5-14.........................................................................................49 Figure 5. Jean Françaix, Concerto pour Flûte et Orchestre Scherzo (flute), bars 33-39...................................................................................................49 Figure 6. Jean Françaix, Concerto pour Flûte et Orchestre (piano reduction) Allegro, bar 93-108....................................................................50 Figure 7. Jean Françaix, Divertimento pour Flûte et Piano Romanza (flute), bars 1-4...........................................................................................52 Figure 8. Jean Françaix, Divertimento pour Flûte et Piano Romanza (flute), bars 9-12.........................................................................................52 Figure 9. François Couperin, Concert Royal No. 4 Courante Française, bar 1. ................................................................................................................54 Figure 10. François Couperin, Concert Royal No. 4 Courante Française, bar 11-12. ...................................................................................................54 Figure 11. Jean Françaix, Suite pour Flûte Seule Pavane, bars 1-5............................55 Figure 12. Jean Françaix, Suite pour Flûte Seule Allemande, bars 41-46. .................55 Figure 13. Jean Françaix, Concerto pour Flûte et Orchestre (piano reduction) Presto, bars 10-11. .....................................................................58 vii Figure 14. Jean Françaix, Trio pour Flûte Violoncelle et Piano Teneramente,..............................................................................................59