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MEDAILLES ANTIQUES PHILIPPE GAUBERT (1879-1941) 8 ODELETTE FOR TWO FLUTES AND PIANO CAMILLE SAINT-SAËNS (1835-1921) 06’41 edited by Fenwick Smith for flute, violin and piano Arr. by Franz Rothe Arr. by Lisa Friend and Anna Stokes for two flutes & piano Anna Stokes (1st flute) 1 NYMPHES À LA FONTAINE - DANSES 05’03 Lisa Friend (2nd flute) 2 MODÉRÉ-VIF ET RYTHMÉ 03’41 Lisa Friend (1st flute) 9 FANTAISIE FOR FLUTE AND PIANO GEORGES HÜE (1858-1948) 06’54 Anna Stokes (2nd flute) Anna Stokes (flute)

3 OBLIVION FOR TWO FLUTES AND PIANO ASTOR PIAZZOLLA (1921-1992) 03’41 DEUX INTERLUDES FOR FLUTE, VIOLIN AND PIANO JACQUES IBERT (1890-1962) Original arr. for two flutes & piano by Anna Stokes / Lisa Friend & piano arr. Mark Kinkaid Arr. by Anna Stokes & Lisa Friend for two flutes & piano Lisa Friend (1st flute) 10 I ANDANTE ESPRESSIVO 03’19 Anna Stokes (2nd flute) 11 II ALLEGRO VIVO 03’53 Lisa Friend (1st flute) ANDANTE & RONDO, OP.25 FOR TWO FLUTES AND PIANO FRANZ DOPPLER (1821-1883) Anna Stokes (2nd flute) 4 ANDANTE 04’16 5 RONDO (ALLEGRETTO CON MOTO) 04’34 12 ROMANCE “LE CALME” (NO.1) FROM TROIS MORCEAUX, OP.57 FOR FLUTE & PIANO Anna Stokes (1st flute) JOACHIM ANDERSEN (1847-1909) 04’26 Lisa Friend (2nd flute) Lisa Friend (flute)

6 CONCERTINO FOR FLUTE & PIANO CÉCILE CHAMINADE (1857-1944) 07’53 DUETTINO, OP.36 FOR TWO FLUTES & PIANO FRANZ DOPPLER revised and edited by Louis Moyse Lisa Friend (flute) 13 ALLEGRO MODERATO - ANDANTE MODERATO / L’ISTESSO TEMPO / POCO MENO - ALLEGRO (MOLTO) 07’45 7 CANTIQUE DE JEAN RACINE GABRIEL FAURÉ (1845-1924) 04’06 Anna Stokes (1st flute) Arr. by Trevor Wye for two flutes & piano Lisa Friend (2nd flute) Lisa Friend (1st flute) Anna Stokes (2nd flute) Total playing time: 66’13 FOREWORD MUSIC FOR FLUTES AND PIANO

We have long held a wish to make a recording together and had set our hearts on covering some of the wonderful flute repertoire for two flutes and piano, both original French composers predominate in this recital of attractive music for one (or two) works together with arrangements formerly intended for other instrumentations. We flutes, though they do not have the field quite to themselves. have chosen our repertoire from pieces that we genuinely love, and which on a ‘His music is neo-classic, but threatened with modernism’, was the curious comment personal note mean a tremendous amount to us. that the critic André Coeuroy applied to Fauré’s younger contemporary Philippe We have had immense pleasure in recording this CD in the beautiful surroundings of Gaubert (1879-1941). Gaubert was a refined and civilized member of the Champs Hill Music Rooms as well as working alongside a fantastic team. We hope that impressionist movement in France who is chiefly remembered – though he wrote in you enjoy listening to these expressive, intimate and engaging works as much as we many genres, including and ballet – by his compositions for the flute, his own enjoyed recording them. instrument: he became principal flautist in several of the Paris orchestras and, in Aside from our own personal repertoire choices and connections with the programme 1919, professor of flute at the Paris Conservatoire, where he also conducted the we chose, many interesting parallels can be drawn between the composers on this concerts of the Conservatoire’s Orchestral Society. In the same year he became disc. Interestingly, Ibert was a pupil of Fauré, and Fauré a student of Saint-Saëns; principal conductor of the Paris Opéra, which with his other appointments placed Fauré had great admiration for the works of Hüe, and Saint-Saëns was a close friend of him at the very centre of French musical life. the famous French flautist, Paul Taffanel to whom our two solo pieces by Chaminade and Hüe were dedicated. By coincidence, both our solo pieces on this disc were Medailles Antiques , which was originally written in 1916 for flute, violin and piano, competition/test pieces for the Paris Conservatoire final examinations. Fauré, Saint- is typical of the French turn-of-the-century obsession with the mythic, Arcadian Saëns, Chaminade, Hüe, Ibert and Piazzolla all studied or taught at the Paris world of ancient Greek pastoral, typified by Pierre Louÿ’s poetic cycle Chansons de Conservatoire in their lifetime. Piazzolla studied in his earlier years with the Hungarian Bilitis and Debussy’s songs and Epigraphes Antiques that drew on those poems. pianist Bela Wilde (a former student of Rachmaninov), and Franz Doppler (a student of Indeed Gaubert’s work seems in some places to echo Debussy’s in its vernal fragility Lizst) was born in Lemburg but spent the majority of his musical career in , and freshness. The tremulous playfulness of ‘Nymphes à la fontaine’ contrasts with where his love of Hungarian gypsy music blossomed. Many more connections could be the more robust rhythms – not devoid, however, of melancholy – of the concluding found between these composers, but this is just a taster of some of the interesting parodies that can be drawn. ‘Danses’. We would like to thank all the people instrumental in making this CD possible. In Astor Piazzolla (1921-1992) enshrines the intimate relations of popular and classical particular, we would like to thank Mary and David Bowerman for their unending in Argentinian concert music. As a bandoneon virtuoso and band-leader he became support and generosity in making this disc possible, Matthew Dilley (producer), one of the most original exponents of the tango, Latin America’s most celebrated Rodney Friend (violinist) for his invaluable support and advice, Stuart Weston dance; at the same time he longed to write symphonic and chamber works. He (photographer), Alexander Van Ingen and to all involved at Champs Hill Records. studied with Ginastera in Buenos Aires and Nadia Boulanger in Paris and eventually, despite much opposition, effected a fusion of classical concert forms with the sinuous perform together. The Andante and Rondo , Op.25, which also exists in a version for rhythm and passion of tango. Enormously prolific (over 1000 pieces!), with works flute, violin and piano, contrasts warm-hearted lyricism in the first movement, ranging from and orchestral suites to a multitude of dance numbers, which is almost a sublimated operatic duet, with a delightfully raffish Rondo in Piazzolla was truly to the Tango what Johann Strauss II was to the Waltz. Hungarian gypsy style. This Hungarian influence is also found in the Duettino , Op.36, which in some editions is actually entitled Duettino on a Hungarian Motive . The tango Oblivion (1982) has become one of Piazzolla’s most widely known works, The ‘motive’, introduced by the flutes, is a melody in the verbunkos style out of partly due to its appearance on the soundtrack of Marco Bellocchio’s film Henry IV . It which gypsy music was developed, and in three short movements Doppler rings the has appeared in many different arrangements, including for klezmer clarinet, changes on it in a series of variations. saxophone quartet, and orchestra – and on the present CD for two flutes and piano. The piece’s extreme melodic melancholy is underpinned by a harmonic scheme of Despite coming from a non-musical Parisian background, Cécile Chaminade (1857- unobtrusive sophistication. 1944) was a child-prodigy pianist and composer and – since the Paris Conservatoire did not then admit women – studied privately with several eminent teachers, The flautist, composer and conductor Franz Doppler(1821-1883) was born a citizen of including Le Couppey (for piano), Savard (for counterpoint, harmony and fugue), the Austrian Empire in Lemberg – the city later known as Lwów in Poland that is now Benjamin Godard (for composition) and also the violin with Martin Marsick, a pupil in the Ukraine. Taught by his father, whose instrument was the oboe, he made his of Joachim. Furthermore she attained proficiency as a conductor, made her debut as a flautist at the age of 13. His younger brother Karl was also a flautist and debut at the age of 18, toured widely, and became a well-known public figure, they formed a duo, performing to great acclaim throughout Europe. They both became eventually receiving the Légion d’Honneur. In the course of her long life Chaminade members of the orchestra of the German Theatre, Budapest, in 1838 (at the age of 18, produced around 350 works: she was most famous for her short, lyric piano pieces, Franz was first flute there) and they moved in 1841 to the Hungarian National Theatre many of which became very popular, but also wrote a comic opera, a ballet, a where five of Doppler’s were eventually staged. The brothers helped to found choral symphony, chamber and orchestral music and over 100 songs. Her Concertino the Hungarian Philharmonic Orchestra in 1853. Later Franz moved to Vienna, for flute and piano, Op.107 (it is sometimes heard in the version for flute and becoming first flute at the Vienna Court Opera, and eventually becoming its chief orchestra), was composed in 1902 as an examination piece for flute students at the conductor. He was also Professor of Flute at the Vienna Conservatoire 1864-67. Paris Conservatoire and is dedicated to the celebrated French flautist and teacher Doppler wrote seven operas and many ballets, and was acknowledged as a brilliant Paul Taffanel who, after a long playing career in the Paris Opéra Orchestra, served orchestrator (he made the orchestral versions of six of Liszt’s Hungarian Rhapsodies ); as Professor of Flute at the Conservatoire from 1893 until his death in 1908. With but he is chiefly renowned for his flute compositions. Many of Doppler’s works for two its wide-ranging, elaborate solo part, Chaminade’s highly attractive Concertino is flutes (which include a concerto) were presumably originally written for he and Karl to certainly an effective test of the flautist’s skill. After a moderately paced and cantata Médée . He wrote a number of operas and ballets which were highly graceful opening section, there is a more animated (and agitated) central section successful in their time, including Titania , an impressionistic piece loosely based on before a cadenza for the flute introduces a reprise of the opening melody. Shakespeare’s A Midsummer Night’s Dream , and Siang-Sin (1924) a ballet-pantomime created for a Chinese Spring Festival (Hüe travelled extensively in the Far East). He In its original form Gabriel Fauré’s (1845-1924) Cantique de Jean Racine , Op.11, is wrote in many other genres – his choral music is admired – but it is mainly his a work for mixed chorus and piano, or organ. He wrote it in 1864-5 at the age of compositions for flute that have retained a place in the repertoire. 19, and it won him the first prize when he graduated from the École Niedermeyer, where he had been studying. There were subsequent arrangements with an Like Chaminade’s Concertino , Hüe’s Fantaisie (1913) began life as a competition accompaniment of string orchestra or for full orchestra. The text is a paraphrase by piece for the Paris Conservatoire; Hüe dedicated it to the great French flute teacher the famous 17th-century tragedian Jean Racine of the Latin hymn ‘Consors paterni Adolphe Hennebains and later made a version with orchestra. This ravishing work luminis’, used for Tuesday matins. Such a choice accorded well with Fauré’s shows a distinct influence of Debussian impressionism. The hieratic, incantatory predilection for old church music, especially those involving the Gregorian modes, opening section, Assez lent , featuring intricate roulades from the flute, leads into a and the restrained melodic charm of the piece is given new life in the present meltingly beautiful main melody, Modéré . After a return of the introductory music arrangement for two flutes. the piece moves into a skittish, vivacious dance, building to an ending of great bravura and rhythmic impetus. Saint-Saëns’ (1835-1921) Odelette in D major, Op.162, for flute and piano (or orchestra) dates from 1920 and is thus is a very late work, one of a number of Jacques Ibert (1890-1962) was a pupil of Gabriel Fauré and André Gedalge at the woodwind works composed by this veteran composer shortly before his death in Paris Conservatoire, and spent a large part of his career in Rome as an officer of the 1921. (He had planned to write a flute sonata, and he did achieve sonatas for Académie de France at the Villa Medici. Though he came from a wealthy merchant clarinet, oboe and bassoon.) In style, however, it could be a piece of the 1850s. family he had to support himself in his musical career, and did so by working as an The title means ‘little ode’ or ‘little song’, and it was a popular name for girl babies accompanist at the Paris Opéra, by composing light music of various kinds, and by in the 19th century. It is clear that in this piece, with its discreet curlicues of playing piano in the cinema. He was a prolific and adaptable composer whose ornamentation, Saint-Saëns displays his interest in the music of Islamic countries, output includes many types of music, though he is still probably best-known for his producing a graceful, elegant work with occasional hints at oriental mode. comparatively vulgar Divertissement based upon his incidental music to Labiche’s play The Italian Straw Hat . In fact he was a master of many styles, poised between Born at Versailles into a family of architects, Georges Hüe (1858-1948) studied with impressionism and neo-classicism on the one hand, and on the other between a Gounod and César Franck, and in 1879 won the coveted Prix de Rome with his profoundly French sensibility and a much more cosmopolitan taste. As he once declared, ‘What I like to do is what others do not … I avoid every theoretical scheme of which I might become a slave and write only according to the demands of my own sensitivity’. In 1946 he composed the Deux Interludes , originally for flute, viola (or violin) and harp (or piano, or harpsichord) and clearly influenced by Debussy’s late Sonata for flute, viola and harp. While the first movement, Andante espressivo , is a grave lyrical meditation with a somewhat courtly, Baroque air, the brilliant, dance-like second movement ( Allegro vivo ) has a distinct Spanish flavour, as do several of Ibert’s other works, contrasting joyous energy with smouldering romantic passion. The Danish flute virtuoso and conductor Carl Joachim Andersen (1847-1909) was born and died in Copenhagen, where from 1894 until his death he was conductor of the popular Sunday Palace Concerts and the concerts at Tivoli Gardens. Before then he had played in the orchestra of the St Petersburg Opera and in 1882 was a co- founder of the Berlin Philharmonic Orchestra. He was obliged to give up playing and concentrate on conducting owing to paralysis of the tongue. Andersen wrote a great many flute works as well as eight volumes of études for his instrument which are still in use. The Trois Morceaux (Three Pieces), Op.57, were dedicated to his sister, and the first of these, a romance in E flat entitled Le Calme , is still in the repertoire of many players. Despite its title the piece gets quite animated as the long-breathed opening melody, accompanied by rippling piano arpeggios that persist almost throughout, is worked up to a central climax and then gradually relaxes to a peaceful close. Anna, Lisa and Mark in the studio with producer Matthew Dilley Malcolm MacDonald BIOGRAPHIES

Anna Stokes has worked with numerous orchestras including the She has given workshops in the UK, London Philharmonic Orchestra, Royal Scottish National Orchestra, Hong Kong and Qatar and assists on BBC Concert Orchestra, London Concert Orchestra, Northern Sinfonia, the annual ‘Lisa Friend London Flute Bournemouth Symphony Orchestra, Brandenburg Sinfonia, Arts Summer Masterclass’. Anna was Symphonic, National Theatre Orchestra (‘Light Princess’ by Tori Amos) awarded a scholarship to the Purcell and session work for EMI, Universal, Deutsche Grammophon, Decca School of Music where she studied and Mercury. She has also toured the UK extensively with singers with Anna Pope. She was Russell Watson and Aled Jones. consequently awarded a Foundation She founded the Emanuel Ensemble in 2001 and they have since gone Scholarship to the Royal College of on to perform in recitals at the Purcell Room, Wigmore Hall, Cadogan Music where she studied flute with Hall, National Gallery, V & A Museum, Conway Hall, Leeds Susan Milan and Stewart McLlwham, International Festival, Schubert Society of Britain, Leighton House, graduating in 2004 with First Class Villa D’Este, Lake Como and various UK concert societies. Anna Honours. Anna was selected to recorded her debut CD with the Emanuel Ensemble (John Reid, pianist participate in the Sir James Galway and Louisa Tuck, cello) for Champs Hill Records (released in 2011). International Masterclass, Switzerland She has also performed in a number of duo recitals with flautist Lisa 2006-2008. She has received Friend. As a soloist, she has given flute / piano duo performances for coaching from flautists including Paul the Qatar Foundation in Doha, at the Beethovenhaus in Bonn, the Edmund Davies, Celia Chambers, Cheltenham International Festival and UK concert societies. Anna has Michael Cox, the late Sebastian Bell also performed concertos and solo works by Bach, Chaminade, Mozart, and composers, the late Nicholas Quantz, Reinecke and Rouse. Maw and Jindrich Feld. Anna plays on

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Awards include the Marc Rich Scholarship for Artistic Achievement, Sir h C Anna is grateful for the kind support L

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Sponsorship, Haynes International Flute Competition Prize Winner p (USA, 2007), LPO Future Firsts (2006-2007), Solti Foundation Award, www.annastokes.com EMI Sound Foundation Award and a Brannen-Cooper Flute awarded to www.emanuelensemble.co.uk her from the Foundation for Sport and the Arts. www.facebook.com/annastokesflute British flautist Lisa Friend Royal Family at Buckingham Palace as soloist with the late Yehudi commenced her studies in New York Menuhin, soloist for the ‘Cinematic Classics’ series at the LG Arts with flautist Renee Siebert of the Center-Korea, a performance in the Britten Theatre with the late Sir New York Philharmonic. She was George Solti, and performing alongside Liza Minnelli in aid of the White then awarded a flute scholarship to Rose Ball Holocaust Trust Fundraiser. Live television appearances have study with Julius Baker at his included Brandenburg Concerto No.5 in Spain with her father the summer school in Connecticut. At international violinist Rodney Friend. She has also given recitals for 17, Lisa gained a scholarship to Middlesbrough Concert Series, St James’, Piccadilly, Leighton House, the Royal College of Music where Stoke Park, an evening showcase at The Forge, St George’s Hall- she studied with Susan Milan. Bradford Evening Recital Series and Derby Live Classical Season Having won the Martin Music amongst numerous other performances. Scholarship twice enabled Lisa to After signing a deal with Universal Publishing, Lisa wrote original study at the Paris Conservatoire arrangements for her trio based on some of the great film scores as with Alain Marion and Ida Ribera. well as her own compositions, performing at venues such as St Martin- As a soloist, Lisa has appeared in-the-Fields, St. John’s, Smith Square, and the British Embassy in with the Philharmonia Orchestra, Paris. As a soloist, Lisa recorded Ennio Morricone’s Once upon a time in Prague Philharmonic, Virtuosi America for Silver Screen Records with the Prague Philharmonic. She Pragenses Chamber Orchestra, Royal has recorded a debut solo CD of romantic works entitled Deep in my Liverpool Philharmonic Orchestra, soul under the Signum Classics label. She has also featured on a and has toured throughout the UK, recording for Malcolm Martineau and friends of songs by Poulenc with

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China and the USA. Notable solo r F She has given masterclasses in Korea and the UK, and runs an annual

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C Lisa is an Ambassador of the Princes Trust and is delighted to be

and performing a track for his : o t working alongside and supporting such a worthy cause. She plays on a foundation SHOAH, BBC ChildLine, o h House of Commons, soloist for the p Verne Powell gold flute. Bill Kenwright production – Music www.lisafriend.com 2000, live recitals for Classic FM www.lisafriendclass.com and Radio 3, a concert for the www.facebook.com/lisafriendflute As a freelance accompanist, Mark Kinkaid has worked for the Royal College of Music, Royal Academy of Music, Guildhall School of Music and Drama, BBC Symphony Orchestra and Pegasus Opera. He has accompanied the Basingstoke Choral Society since 1976 and was appointed Assistant Musical Director in 1997. In 2010-2012, he was the accompanist for the Lisa Friend London Flute Summer Masterclass. In 2012-2013, he was an official accompanist on the Cambridge International String Academy Course. He has also been a repetiteur for Opera South ( Manon ) as well as completing a season with Opera Integra. Mark was the official accompanist on the Torroella de Montgri Summer Course in Spain (1992-1993), accompanist in Janacek Cunning Little Vixen (2007) and musical director in four performances of Humperdinck Hansel and Gretel (2008) for ‘Music at Woodhouse’, Surrey. Mark regularly collaborates with solo flautist Lisa Friend. Together, they have broadcast a live duo recital on Classic FM, performed at the ‘White Rose Ball’ Holocaust Fundraiser alongside artist Liza Minnelli and recorded a CD of romantic works on the Signum Records. Mark has also performed various works with orchestra and played at the Purcell Room with flautist James Dutton as part of the

d Produced & Engineered by Matthew Dilley

Park Lane Group Recitals. n e

i Edited & Mastered by Matthew Dilley r F He teaches at Abercorn School, London, Recorded on 17th–19th June 2013 in the Music Room, Champs Hill, West Sussex, UK a s i L

Queen Mary’s College, Basingstoke, and is

: Cover and tray images by Stuart Weston o pianist in residence at London’s t o Executive Producer for Champs Hill Records: Alexander Van Ingen h prestigious Centre for Young Musicians. p Label Manager for Champs Hill Records: John Dickinson ALSO AVAILABLE... 3 3 1 5 6 2 3 5 0 0 0 0 D D D D C C C C R R R R H H H H C C C C

FAIRY TALES BACH FLUTE WORKS EMANUEL ENSEMBLE LUDWIG THUILLE SONGS KSENIJA SIDOROVA - accordion DANIEL PAILTHORPE flute JULIAN MILFORD piano Accordion sensation Ksenija Sidorova in a A new recording of Bach solo partitas and The Emanuel Ensemble – a flexible chamber An exploration of rarely heard songs by showcase demonstrating the full range and sonatas for flute from leading flautist group – here presents an enticing recital Ludwig Thuille (including his three emotional power of her instrument. “As an Daniel Pailthorpe, one of the few programme for flute, ‘cello & piano, showcasing winsome trios), with some of the finest accordionist you sort of have to carve your orchestral principals of international the undoubted talents of acclaimed young young voices in the UK – Sophie Bevan, own path, so I consider it my mission in standing who plays on a modern wooden players Louisa Tuck, Anna Stokes and John Reid. Jennifer Johnston and Mary Bevan – this way to introduce the instrument to a flute. Daniel Pailthorpe is a familiar face accompanied by the first-rate Joseph NIKOLAI KAPUSTIN Trio Op.86 wider audience.” from the BBC Last Night of the Proms, as PHILIPPE GAUBERT Pièce Romantique Middleton. Featuring Vaclav Trojan’s Fairy Tales Co-Principal Flute of the BBC Symphony ROBERT SCHUMANN Adagio and Allegro in A flat “The crème de la crème of young British- concerto with the BBC National Orchestra Orchestra, especially in the Sailor’s major Op.70 based musical talent” Hornpipe ! FRANÇOIS BORNE Fantaisie Brillante sur Carmen The Daily Telegraph of Wales, and Piazzolla’s Oblivion with LOUISE FARRENC Trio Op.45 violinist Thomas Gould, alongside works by “The best thing on this disc is the performance ASTOR PIAZZOLLA La Muerte del Ángel Grieg, Londonov, Vassiliev, Moskowski and by Daniel Pailthorpe, thrown off with splendid MusicWeb International CD of the month Feb 2012 Mendelssohn. vigour and virtuosity” Gramophone Magazine “ …this is such an exceptionally fine young “an amazingly accomplished artist” ensemble, and such a marvel of a program, that I Classical Source can’t possibly hold back from the highest “light, shade, delicacy – and breathtaking recommendation” Brian Reinhart virtuosity” The Observer “An outstanding CD ...” Sir James Galway