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121-Fantaisie-Booklet.Pdf 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. CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION Total Time: (57:00) MAY BE MADE AT WWW.CEDILLERECORDS.ORG OR 773-989-2515. Publishers Gaubert Universal Music obo Cedille FOUNDation is a trademark of Mathieu Dufour, flute Editions Salabert, Inc. The Chicago Classical Recording Foundation Taffanel Southern Music Company 1205 W. Balmoral Ave, Chicago IL 60640 USA Kuang-Hao Huang, piano Borne Southern Music Company 773.989.2515 tel - 773.989.2517 fax www.cedillerecords.org CDR 9000 121 P & © 2010 Cedille Records All Rights Reserved. Made in U.S.A. DDD 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 viol 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 Philippe Gaubert and Marcel —Arthur Leclere (aka Tristan Klingsor) fantasias for organ, harpsichord, 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.
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