Town The copyright of this thesis rests with the University of Cape Town. No quotation from it or information derivedCape from it is to be published without full acknowledgement of theof source. The thesis is to be used for private study or non-commercial research purposes only. University A STUDY AND CATALOGUE OF FRENCH FLUTE MUSIC WRITTEN BETWEEN 1945 AND 2008 Town LIESL STOLTZ SUPERVISOR: PROF.Cape JAMES MAY of University Submitted in partial fulfilment of the requirements for the degree of Doctorate in Music by performance and thesis in the faculty of humanities, University of Cape Town February 2010 DECLARATION I, the understated, hereby declare that this dissertation is my own work. It is being submitted in partial fulfilment of the requirements for the degree of Doctorate of Music at the University of Cape Town and has not been previously submitted for a degree at any other institution. Town Cape of University Liesl Stoltz Cape Town, 2 February, 2010 i TO MY GRANNY Town OUMA JACOBA JANSE VAN RENSBURG Cape of University ii ACKNOWLEDGEMENTS Upon completion of this work, I would like to thank the following people and institutions: Prof. James May, my supervisor, for his patience, time, guidance and the sharing of his incredible knowledge; My parents and sister, Christélle, who is always there for me and without whom this thesis would not have been completed; Wilhelm, my husband, for his love and support and for accepting the inevitable; Eva Tamassy, my first flute teacher, for always believing in me; Pierre-Yves Artaud, for his role in stimulating my interest in contemporary flute music and for all his support and assistance with this study; Hendrik Hofmeyr, for his valuable help and willingness to listen; Dave Williams and Rob Johnson for assistance with the recordingTown of extended techniques; Nicolaas Maritz for information on history of art; Fuminori Tanada, pianist of Pierre-Yves Artaud’s flute class at the CNSM, for all his help with acquiring information and scores; Cape Julie Strauss and staff of the UCT music library for constantly putting up with me and my endless requests; of Theo Herbst of Stellenbosch University for his assistance with electronic music; Jorge Garcia Herranz, for his help with the acquiring sheet music and information in Paris; Composers Eric Tanguy, Gilbert Amy, Karim Haddad, Fuminori Tanada who kindly agreed to be interviewed; All composers who Universitysent me information via e-mail and post and with whom I had informal conversations; Publishing House Salabert who sent scores and recordings for research purposes; The University of Cape Town for financial support and The Ernest Oppenheimer Memorial Trust for a much needed scholarship. iii ABSTRACT French flute music written after 1945 incorporates a fascinating repertoire. In France the period following the war was still dominated by neo-classical composers. However, similar to the Dada movement in art, many composers were in revolt against the establishment and were searching for original ways to express themselves. Serialism spread to France mainly through the teachings of René Leibowitz and were developed further by Messiaen, Boulez and their followers. Spectralism originated in France and was in a way a rebellion against serialism. The formation of the research centre Institut de Recherche et de Co-ordination Acoustique/Musique (IRCAM) in the 1970s has greatly contributed to composers’ experiments with instruments. Electronic music had an unprecedented influence on the composition of instrumental music of today. Especially spectral music and research into instrumental timbres developed hand in hand with electronic music. Several young French composers followed courses at TownIRCAM in electronic music after completion of their composition studies at the Conservatoire National Supérieur de Musique and other institutions. Cape Despite all these developments, French contemporaryof flute works are seldom performed outside France, and most of the composers are relatively unknown to the rest of the world. These works often include new instrumental performance techniques, known as ‘extended techniques’ or avant-garde techniques, which were developed by prominent flute performers in collaboration with composers. The study and performance of works which include extended techniques remain daunting to most South African flautists. The subject is not adequately covered inUniversity the literature and only a few manuals are available in South African libraries. On the other hand, the performance of contemporary repertoire with extended techniques is of a very high standard in France. There are various performers and ensembles who exclusively perform contemporary music such as Pierre-Yves Artaud, Sophie Cherrier, the Ensemble l’Itinéraire and the Ensemble Intercontemporaine, to mention only a few. Extensive research reveals no existence of a catalogue which represents all French composers and their works for flute after 1945. Although some composers have websites and listed works can be found on the websites of IRCAM and the Centre de documentation de la musique contemporaine (CDMC), these are mostly incomplete and do not provide detailed iv information. Most of the information is also in French without translations. Except for online recourses there exists, to my knowledge, no printed catalogue. There is thus a great shortage of available literature which prevents flautists, especially outside of Europe, to study these works. The main objective of this dissertation is to fill this void. Apart from a study of the literature, information was acquired through correspondence with various French composers, flautists, publishers and other institutions as well as through visits to various research centres. Formal interviews were conducted with some composers and performers and available scores were studied and analysed. The thesis firstly presents an overview of musical developments in France after 1945. Thereafter follows an explanation of extended techniques as well as a discussion of selected French repertoire of this period. The catalogue includes works for solo flute, flute and piano, flute concertos, chamber music, and flute and electronics. It isTown preceded with a guide that gives useful information when consulting the catalogue. A recording of the relevant extended techniques were made in order to assist flautists and to provide composers with examples. Cape of University v TABLE OF CONTENTS DECLARATION…………………………………………………………………….............i DEDICATION…………………………………………………………………..……...…...ii ACKNOWLEDGEMENTS……………….……………………………………………......iii ABSTRACT……………………………………………………………………………...…..iv TABLE OF CONTENTS………………………………………………………… …...…..v CHAPTER ONE: INTRODUCTION 1.1 MOTIVATION FOR THE STUDY…………………………...……………………1 1.2 OBJECTIVES………………………………..……………………………………....3 1.3 METHODOLOGY…………………………………………………………..…...…..4 1.4 STRUCTURE……………………………………………………………………….. 5 1.5 SCOPE OF STUDY………………………. ………………………………...………5Town 1.6 LIMITATIONS……………………………………………………………………....6 Cape PART ONE of BACKGROUND TO THE CATALOGUE CHAPTER TWO: DEVELOPMENTS IN MUSIC IN FRANCE SINCE 1945 2.1 INTRODUCTION…………………………………………………………..............7 2.2 BACKGROUNDUniversity OVERVIEW...................................................... ............................8 2.3 MUSICAL DEVELOPMENTS IN POST-WAR FRANCE..................................11 2.3.1 Neoclassicism.....................................................................................................11 2.3.2 Serialism.............................................................................................................13 2.3.3 Independent composers....................................................................................17 2.3.3.1 Olivier Messiaen..................................................................................18 2.3.3.2 André Jolivet........................................................................................19 2.3.3.3 Maurice Ohana.....................................................................................20 2.3.4 Flute and electronics.........................................................................................21 2.3.5 Spectralism.........................................................................................................22 vi 2.3.6 French Minimalism…………………………...................................................24 2.3.7 Micro-tonal music………………………………………………….....……....25 2.4 SUMMARY………………………………………………………………………....26 CHAPTER THREE: EXTENDED FLUTE TECHNIQUES 3.1 INTRODUCTION………………………………………………………………….26 3.2 EXTENDED TECHNIQUES……………………………...……………………....27 3.2.1 Flute fingering…………………………………………………………..…..28 3.2.2 Extended range…………………………………………………………...…31 3.2.3 Micro-intervals……………………………………………………...…..…..32 3.2.4 Bisbigliando…………………………………………………………………36 3.2.5 Circular breathing…………………………………….…………..…….….39 3.2.6 Unfingered effects………………………………………………………......41 3.2.7 Aeolian sounds……………………………………………………………....42Town 3.2.8 Jet-whistle…………………………………………………………………...44 3.2.9 Flutter-tonguing…………………..………………………………..…….…45 3.2.10 Glissandos….……………………………………………………...………...46Cape 3.2.11 Multi-phonics…………………………………..………………………...….48of 3.2.12 Partial sounds/Harmonics….……………………...…………………….....51 3.2.13 Whistle-tones………………………………………………………………...53 3.2.14 Key-slaps…………………………………………………………………….55 3.2.15 Pizzicato………………...……………………………………………………57 3.2.16 Tongue-ram…………………………...……………………………………..58 3.2.17 TrumpetUniversity sound……………………………..……………………………….59 3.2.18 Vibrato (various forms)…………………………...………………………….59

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