Producer: James Ginsburg Engineer: Bill Maylone Editing: Jeanne Velonis FANTAISIE Technical Editing: Bill Maylone 1 Gabriel Fauré (1845–1924) Recorded May 31 – June 2, 2009, in Ganz Hall, Chicago College of Fantaisie, Op. 79 (5:06) Performing Arts at Roosevelt University Steinway Piano 2 Phillippe Gaubert (1879–1941) Piano Technician: Nobumaso Fujiwara Fantaisie (7:03) Art Direction: Adam Fleishman / www.adamfleishman.com 3 Georges Hüe (1858–1948) Front Cover Photo: Todd Rosenberg Fantaisie (8:16) © Todd Rosenberg Photography, 2010, used by permission 4 Albert Franz Doppler (1821–1883) Fantaisie Pastorale Hongroise (12:15) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not- for-profit foundation devoted to promoting the finest musicians and ensembles in the 5 Paul Taffanel (1844–1908) Chicago area. The Chicago Classical Recording Foundation’s activities are supported Fantaisie on Themes from Weber’s Der Freischütz (12:23) in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, 6 François Borne (1840–1920) Kirkland & Ellis Foundation, The MacArthur Fund for Arts and Culture at Prince, NIB Fantaisie Brillante on Themes from Bizet’s Carmen (11:23) Foundation, Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency.

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2 3 FANTAISIE During the Renaissance, when fantasia went beyond the idea of a the Conservatoire has long been the term first came into currency, keyboard piece arising essentially a mecca for aspiring flute soloists. Notes by Andrea Lamoreaux fantasias were almost always from improvised or improvisatory The annual competitive examination keyboard works. In the 17th century, material though still having a definite called the Concours began in the ...A song by turns languorous or merry Purcell’s instrumental catalogue formal design. To them the fantasia 1890s and was supervised for more That my dear love plays. contained a remarkable series of . . . provided the means for an than a decade by Paul Taffanel (1844– And when I go to the window fantasias for consort. Bach and expansion of forms, both thematically 1908). He is regarded as the founder It seems to me that each note flies From the flute to my cheek Mozart brought the tradition of and emotionally. The sonata itself of the modern school of French flute Like a mysterious kiss. the keyboard fantasia into the late- had crystallized into a more or less playing; his traditions were carried Like a mysterious kiss. Baroque and Classical eras with their rigid formal scheme, and the fantasia on by and Marcel —Arthur Leclere (aka Tristan Klingsor) fantasias for organ, , or offered far greater freedom in the Moyse, among others. Fantasias from “La Flute enchantee” in his poetry fortepiano. Precise formal structure use of thematic material and virtuoso composed for the Concours were collection Shéhérazade — usually very important to both writing.” designed to show off the student’s Bach and Mozart — is not a feature The fantasias on this CD are of two ability to play in a lyrical, expressive of fantasia composition. While all style, and also challenge his (or her) Fantasia: An ingenious and imagin- different types. Three of them — music has structure, fantasias have a technical accomplishments with op- ative instrumental composition, often those by Doppler, Borne, and Taffanel characterized by distortion, exag- tendency to create their own formal — are in the traditions of Liszt, who portunities for fast fingering and geration, and elusiveness. . . . designs, which may have been part of wrote a number of piano works articulation. “Fantasia” has often been used their appeal for Romantic composers, elaborating themes from operas, and A prolific song composer, Gabriel [to describe] pieces that attempt whose yearning for expressive to capture the character [of] Max Bruch, whose Scottish Fantasy Fauré (1845–1924) also wrote or- improvisation, as well as for didactic beauty of melody and sonority often incorporates traditional folk tunes. chestral, solo piano, and chamber compositions by players wishing to overpowered the requirements of The works by Fauré, Gaubert, and music. Originally trained on the illustrate the art. traditional forms. Fantasias abound Hüe stem from the stellar tradition of organ, Fauré earned his living as in 19th-century musical literature. —Harvard Dictionary of Music flute virtuosity centered at the Paris an organist until he began to gain “For the Romantics,” writes critic Conservatory in the late 19th and recognition as a composer. In and historian William Drabkin, “the early 20th centuries. Founded in 1793, 1896, he joined the faculty of the

4 5 Paris Conservatory and became its passing briefly through many keys, section is similar to a concerto his long life. His works recall the director in 1905. His students in- alternating between staccato and cadenza, with virtuosic, improvisatory harmonic world of Debussy. He wrote cluded composers Maurice Ravel legato playing. The sudden dynamic passages for both instruments. The his Fantaisie for the Concours of 1913 and Georges Enescu, and the noted contrasts enhance the sense of key is (mostly) G minor. A Lent (slow) (he orchestrated it ten years later). composer-teacher Nadia Boulanger. building to a heady climax. passage ushers an elaborate theme Like Gaubert’s piece, it begins with He wrote his Fantaisie for the flute One of Taffanel’s most famous for the flute before the start of the Vif a cadenza-like section. The opening Concours of 1898 and dedicated it to students was Philippe Gaubert (1879– section in B-flat, the relative-major. key is G minor, rhythmic patterns are Taffanel; it also exists in an orchestral 1941), who had a three-way career as The initial melodies cover the range dotted and almost hesitant, the flute version. The opening section, marked composer, conductor, and teacher. of a major seventh. They sound very has a long, brilliant passage over Andantino (moderately slow), is in E He became artistic director of the much like incomplete scales and lend sustained piano chords. A sudden minor and proceeds in 6/8 time. It is Paris Opera in 1931 but never lost his a sense of indeterminacy. There are modulation to A major brings in reminiscent of a Siciliana (a favorite connection to flute music, working abrupt dynamic changes as the piano much calmer lyrical thematic material slow-movement style of Baroque with Taffanel on a flute teaching plays trills and rapid chord patterns to marked Modéré, in relaxed 12/8 time, composers), with a pastoral mood and manual and holding a professorship support the flutist’s exploration of his with a soft dynamic marking. The occasional dotted-rhythm figures. at the Conservatory. Although he entire range. New motives emerge, melodies are increasingly elaborated (Fauré was working on the famous composed for orchestra, ballet, and often echoing, elaborating, and re- until we return to Tempo I — Assez Sicilienne movement of his music solo voice, he is remembered mainly turning to the basic major-seventh Lent (rather slow) — and the original for the play Pelléas et Mélisande at for his compositions featuring the pattern. Several keys are briefly ex- improvisatory motives. An echo of the same time.) The melody of the flute. He wrote his Fantaisie for the plored, with a return to G minor near the A major theme leads to a fast Fantaisie’s opening section becomes Conservatory’s 1920 Concours. Its the end and a final piano chord in G section introduced by staccato notes increasingly elaborate, ending with two principal sections are labeled major. in the piano part, a very different an E minor cadence, a short rest, Moderato Quasi Fantasia and Vif Like Fauré, Georges Hüe (1858–1948) and more agitated sound for both and a quick shift into 2/4 time and an (lively), but there are many tempo was mainly noted for vocal music — instruments. The rhythm changes to a Allegro main section in C major. The variations within each portion — songs and operas — and was not a flute rapid waltz. Sudden changes of key, flute and piano parts both become subtle indications asking the players to player. He divided his career between dynamics, and major-minor modality increasingly complex and intense, speed up or slow down. The opening composing and teaching throughout increase the emotional intensity.

6 7 New melodies are introduced and opening section, Molto Andante in well known in the United States, Der from the demonic to the prayerful. interrupted by bravura measures of D minor, is virtuosic for the flute and Freischutz was a milestone in the From the Allegro minor-mode intro- virtuosic display. After touching on a dramatic for the piano. A quick shift evolution of German opera when it duction we move to a D major number of keys, the piece ends with a to D major brings a new theme and premiered in Berlin in 1821. Based section based on one of the opera’s triumphant coda in B-flat major. faster pace; the theme is varied and on legends of the Dark Huntsman, principal arias, “Leise, leise, fromme We move back a generation or two, constantly elaborated, with miniature it is both a love story and a Faustian Weise” (Softly, gentle air, waft up to and eastward from France, for the cadenzas in both instrumental parts. tale of men imperiling their souls the stars). It is sung by the opera’s famous Hungarian Pastoral Fantasy An Allegro section returns to D by dealing with the devil. Weber’s heroine, Agathe, in love with Max, by Albert Franz Doppler (1821– minor and drops into a mysterious genius for colorful orchestration who must win a shooting competition 1883). Much of Doppler’s writing pianissimo passage; then we come and memorable melodies made the to gain her hand in marriage. Agathe was inspired by traditional music back to the major mode to lead into opera a hit, and it had a tremendous knows Max has been tempted by the of central Europe; his family had a flute cadenza accompanied by soft influence on the young Richard idea of the magic bullets but, in the connections in Poland and Hungary piano chords and a brilliant fortissimo Wagner. Taffanel’s reinterpretation of course of the aria, reaffirms her faith and won fame as composers, D major coda. its themes recognizes the importance in his goodness and greets his return conductors, pianists, and flutists. Taffanel taught a generation of flute of the orchestra in Weber’s work with joy. The Fantaisie follows this Doppler wrote operas for theaters in players and wrote a great deal of music by placing special emphasis on the progression with a brilliant Allegro Budapest and had a notable career for his beloved instrument over the piano part; the keyboard player here variation on the concluding part of in Vienna as both a composer and course of a distinguished career that is far more than an accompanist. The her aria, which signals his return to her. flute virtuoso. Whether his Fantaisie also encompassed solo and chamber agitated introduction hints at the In Act III, Agathe contemplates the uses authentic Hungarian folk music performances and conducting. dark images of the opera’s Wolf Glen competition with renewed foreboding melodies (as researched by Bartók His ingenious Fantaisie on Themes scene, where the hunters Max and and sends up a prayer, “Und ob die Caspar invoke the Dark Huntsman Wolke” (And even if clouds veil it, the and Kodály much later in the 19th from Der Freischutz could serve as an century) is impossible to determine, alternative overture to that opera (not to help them forge magic bullets sun still shines in heaven). The flute but he creates a compelling piece that anyone will ever become tired that will always hit their mark — for presents this yearning, lyrical melody from simple tunes, wherever they of Carl Maria von Weber’s original a price, of course. The main body of in a passage marked Andante Quasi may have originated. The melancholy overture, a concert favorite). Not so the Fantaisie, however, moves away Allegretto, a very moderate and

8 9 serene tempo. The piano at first “fate” theme from the Act I Prelude, MATHIEU DUFOUR Tribune reported, “Throughout the supports the aria theme, then takes with tremolos in the piano part concerto he confirmed his uncanny it over as the flute plays imaginative supporting the portentious melody. Praised as “a marvel” by the Chicago mastery of color and dynamics, filling figurations. The final Allegro energico Figurations and variants build up Sun-Times, French flutist Mathieu the hall with a vibrant, crystalline reverts to a lighter aspect of the plot: until we hear a brief reference to the Dufour is one of the most impressive sound.” When he performed as Agathe’s friendship with Ännchen, chorus in Act I where soldiers and musicians of his generation. His soloist at the Lucerne Festival in who tries to allay her fears in the townspeople greet the appearance golden sound and flawless technique Switzerland, one critic wrote, “the playful aria, “Kommt ein schlanker of Carmen; then the flute sings the have left audiences and fellow ornate solo lines unfurled like yard musicians in awe. Bursch gegangen” (Whenever an theme of her “Habanera.” The piano upon yard of fine embroidered silk.” attractive boy walks by). Taffanel turns part imitates the original orchestral At the age of 25, he was appointed Mr. Dufour performs concertos and this theme into a propulsive finale for scoring with haunting effect. Two principal flute of the Chicago recitals every year in Japan. He has both players. variations on the “Habanera” fol- Symphony Orchestra by Daniel performed recitals in major halls in low, the flute elaborating while Barenboim, making him one of Tokyo and concertos with the Tokyo François Borne (1840–1920) is the youngest players ever to hold Metropolitan Orchestra and the credited with improvements in the piano maintains the tune. The piano plays the throbbing theme of such a position. Since then, he has Hiroshima Symphony. flute-building while he taught at the performed numerous times as soloist the “Gypsy Dance” that opens Act As chamber musician, he has Conservatory of Toulouse and played with the Chicago Symphony, in II. The flute picks it up, and both collaborated with Mitsuko Uchida, principal flute in the theater orchestra concertos by Devienne, Mozart, Ibert, instruments cascade through brilliant Pinchas Zukerman, the Kalichstein- of Bordeaux. He is remembered Bach, Jolivet, and Nielsen. by flutists and non-flutists alike for elaborations. Suddenly, we shift from Laredo-Robinson Trio, Julia Fischer, minor to major mode for a triumphant As soloist, Mr. Dufour has performed Eric LeSage, and members of the his Fantaisie Brillante sur Carmen, with conductors such as Pierre . He is also a reproducing and varying themes from presentation of the “Toreador Song” that builds up to a dizzying finale. Boulez, Christoph Eschenbach, David member of the Chicago Chamber the most famous of all French operas. Robertson, Fabio Luisi, and Nicholas Musicians. He has performed An agitated piano introduction leads Andrea Lamoreaux is music director of 98.7 McGegan. Of Dufour’s performance concerts in to a flute melody drawn from one of WFMT, Chicago’s classical experience. of Carl Nielsen’s with Carnegie’s Zankel Hall in New York, the opera’s entr’acte portions. Then, the Chicago Symphony, the Chicago at the Lucerne and Davos Festivals in an ominous C minor, we hear the

10 11 in Switzerland, and at the Domaine Mr. Dufour is also highly in demand as KUANG-HAO HUANG world’s foremost composers, including Forget Festival in Canada. In demand a teacher, although his concertizing Pierre Boulez and John Corigliano. Kuang-Hao Huang has performed around the world as a recitalist, he permits time for very few students Mr. Huang serves on the faculties of through-out the United States as well as has dazzled audiences in Japan, each year. He is passionate about the Chicago College of Performing in Europe and Asia. Mr. Huang is most the United States, Canada, Europe, teaching the younger generation of Arts at Roosevelt University, Con- often heard as a collaborator, regularly Israel, and South America. His recitals musicians, however, and frequently cordia University-Chicago, and the Merit playing concerts and radio broadcasts have been televised on French and gives master classes wherever he School of Music. As a member of with Chicago’s finest musicians, Japanese television. performs. He has taught many times the International Music Foundation’s from instrumentalists of the Chicago at the Domaine Forget Festival in Bootinsky Piano Trio, he presents Born in Paris, Mr. Dufour began his flute Symphony Orchestra to vocalists with Canada and is currently on faculty at educational outreach programs through- studies with Madeleine Chassang. He the Lyric Opera. He has also performed DePaul University in Chicago. out the Chicago Public Schools. During then studied with Maxence Larrieu with the Vermeer and Chicago String the summer, he coordinates the piano Quartets. at the Lyon Conservatory, where he Mr. Dufour’s discography includes a program at Northwestern University’s was unanimously awarded first prize. solo recital of sonatas by Prokofiev, An advocate of new music, Mr. Huang National High School Music Institute. While a teenager, he won second Martin, and Hindemith on Harmonia gave the world premiere performances Mr. Huang holds degrees from the prize at the Jean-Pierre Rampal Mundi; Poulenc’s complete chamber of solo works by Louis Andriessen University of Wisconsin, Indiana International Flute Competition music on RCA/BMG; and Roussel’s and Chen Yi at Weill Hall as part of University, and Northwestern Uni- in 1990 and third prize at the complete works for flute on Saphir Carnegie Hall’s Millennium Piano versity. His principal teachers include International Flute Competition in Records. This is Mathieu Dufour’s Book Project. He has also premiered Leonard Hokanson, Howard Karp, Rita Budapest in 1991. In 1997, he won second recording as soloist for numerous ensemble works, including Sloan, and Sylvia Wang. Mr. Huang was second prize at the International pieces by Stacy Garrop, John Harbison, Cedille Records. a recipient of the U.S. Department of Daniel Kellogg, James Matheson, and Flute Competition in Kobe, Japan. At Education’s Jacob K. Javits Fellowship. age 20, he was appointed principal Laura Schwendinger. Mr. Huang is a flutist of the Orchestre National du member of Fulcrum Point New Music A native of Whitewater, Wisconsin, Mr. Capitole de Toulouse, and three Project. He has been involved with the Huang currently resides in Oak Park, years later became principal flutist of Chicago Chamber Musicians Composer Illinois. For more information, go to the Paris National Opera. Perspectives series since its inception in www.khpiano.net. 2001 and has worked with many of the

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Wind Concertos by Cimarosa, Molique, and Moscheles “There is a long-standing stereotype that great orchestral musicians do not excel when they step in front of the orchestra as soloists. This recording defies that notion. Alex Klein and Mathieu Dufour, relatively young musicians recently elevated to superstar status as principal members of the Chicago Symphony, play with great technical skill, remarkably pure and beautiful tone, and musical panache.” — American Record Guide

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