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Music for a New Era: Selected Works Dedicated to Flutist Louis Fleury (1878-1926)

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Music for a New Era: Selected Works Dedicated to Flutist Louis Fleury (1878-1926) James Madison University JMU Scholarly Commons Dissertations, 2010-2019 The Graduate School 5-2-2019 Music for a new era: Selected works dedicated to flutist Louis Fleury (1878-1926) Lydia Carroll Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Composition Commons, and the Music Performance Commons Recommended Citation Carroll, Lydia, "Music for a new era: Selected works dedicated to flutist Louis Fleury (1878-1926)" (2019). Dissertations, 2010-2019. 217. https://commons.lib.jmu.edu/diss201019/217 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations, 2010-2019 by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Music for a New Era: Selected Works Dedicated to Flutist Louis Fleury (1878-1926) Lydia R. Carroll A Doctor of Musical Arts document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY in Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music August 2019 FACULTY COMMITTEE Committee Chair: Beth E. Chandler, D.M.A. Committee Members/Readers: Pedro R. Aponte, Ph.D. Jeanette Zyko, D.M.A. ACKNOWLEDGEMENTS I am deeply grateful to my teacher and mentor, Dr. Beth Chandler, for her guidance throughout this project. Thank you for encouraging me to give my best effort to everything I do, and for modelling that in your own teaching and performing. Many thanks to my other committee members, Dr. Pedro Aponte and Dr. Jeanette Zyko, for helping me focus my research on this particular topic and for your support in completing this project. Thank you to flute historian Nancy Toff, who assisted me in locating sources on Louis Fleury. Thank you to my parents for supporting my musical endeavors from the start. I would certainly not have arrived at this point without you. ii TABLE OF CONTENTS List of Figures iv Abstract vii Introduction 1 Paul Taffanel and the French Flute School 5 Louis Fleury 13 Claude Debussy’s Syrinx 19 Cyril Scott’s The Extatic Shepherd 27 Reynaldo Hahn’s Deux Pièces pour Flûte et Piano 32 Cyril Bradley Rootham’s Suite in Three Movements 40 Jacques Ibert’s Jeux 48 Charles Koechlin’s Sonate pour deux flûtes 58 Conclusion 72 Works Cited 74 iii LIST OF FIGURES Figure 1.1. Demersseman, Solo de Concert No. 6, Op. 82, mm. 37-42. 16 Figure 2.1. Debussy, Syrinx, use of half steps, mm. 1-2. 23 Figure 2.2. Debussy, Syrinx, use of pentatonic scale, mm. 11-12. 24 Figure 2.3. Debussy, Syrinx, use of whole tone scale, mm. 31-35. 24 Figure 2.4. Debussy, Syrinx, mm. 3-8. 25 Figure 3.1. Scott, The Extatic Shepherd, opening and example of pentatonic 29 scale, mm. 1-9 Figure 3.2. Scott, The Extatic Shepherd, example of “synthetic mode,” 30 mm. 54-64. Figure 3.3. Scott, The Extatic Shepherd, meter changes and variety of 31 rhythmic groupings, mm. 26-34. Figure 4.1. Hahn, Variations on a Theme by Mozart, Mozart’s theme, 34 mm. 1-4. Figure 4.2. Hahn, Variations on a Theme by Mozart, Hahn’s Variation 34 #2, mm. 40-48. Figure 4.3. Hahn, Deux Pièces pour Flûte et Piano, I. Danse pour une 35 déesse, mm. 1-4 Figure 4.4. Hahn, Deux Pièces pour Flûte et Piano, I. Danse pour une 37 déesse, rhythmic displacement, mm. 25-33. Figure 4.5. Hahn, Deux Pièces pour Flûte et Piano, I. Danse pour une 38 déesse, rhythmic displacement and return to opening motive, mm. 38-45. Figure 4.6. Hahn, Deux Pièces pour Flûte et Piano, I. Danse pour une 39 déesse, opening motive, mm. 1-4. Figure 5.1. Rootham, Suite in Three Movements, I. Passacaglia, ostinato 42 theme, mm. 1-10. Figure 5.2. Rootham, Suite in Three Movements, I. Passacaglia, harmonic 43 progression, mm. 42-46. iv Figure 5.3. Rootham, Suite in Three Movements, I. Passacaglia, 44 mm. 52-62. Figure 5.4. Rootham, Suite in Three Movements, II. Saraband, 45 comparison of traditional sarabande rhythm with opening of Rootham, mm. 1-2. Figure 5.5. Rootham, Suite in Three Movements, II. Saraband, mm. 1-14. 46 Figure 5.6. Rootham, Suite in Three Movements, III. Jig, mix of duple 47 and triple meters, flute part, mm. 1-9. Figure 6.1. Ibert, Jeux, I. Animé, mm. 1-6. 50 Figure 6.2. Ibert, Jeux, I. Animé, flute part, mm. 7-10. 50 Figure 6.3. Ibert, Jeux, I. Animé, flute part, mm. 40-47. 51 Figure 6.4. Ibert, Jeux, I. Animé, mm. 21-25. 52 Figure 6.5. Ibert, Jeux, II. Tendre, pentatonic collections in mm. 1-3, 16-18. 53 Figure 6.6. Ibert, Jeux, II. Tendre, triplet melody fragments, mm. 37-39. 54 Figure 6.7. Ibert, Jeux, II. Tendre, melody in canon between flute and 55 piano, mm. 62-63. Figure 6.8. Ibert, Jeux, II. Tendre, ending, mm. 91-99. 56 Figure 7.1. Koechlin, Sonate pour deux flûtes, I. Assez lent, mm. 1-2. 63 Figure 7.2. Koechlin, Sonate pour deux flûtes, I. Assez lent, mm. 2-3. 64 Figure 7.3. Koechlin, Sonate pour deux flûtes, I. Assez lent, intervals 64 between flute parts, mm. 5-8. Figure 7.4. Koechlin, Sonate pour deux flûtes, I. Assez lent, sustained 65 minor second, mm. 15-16. Figure 7.5. Koechlin, Sonate pour deux flûtes, II. Allegretto scherzando, 66 mm. 1-2. Figure 7.6. Koechlin, Sonate pour deux flûtes, II. Allegretto scherzando, 67 sequences, mm. 3-4. v Figure 7.7. Koechlin, Sonate pour deux flûtes, III. Final: Allegro (assez 68 vif), sequences in solo flute, mm. 1-4. Figure 7.8. Koechlin, Sonate pour deux flûtes, III. Final: Allegro (assez 69 vif), mm. 6-9. Figure 7.9. Koechlin, Sonate pour deux flûtes, III. Final: Allegro (assez 70 vif), mm. 20-22. vi ABSTRACT Louis Fleury (1878-1926) was a skilled flutist, respected writer and critic, prolific music editor, and new music enthusiast in France at the turn of the twentieth century. Unfortunately, Fleury’s legacy has been overshadowed by figures such as his teacher Paul Taffanel (1844-1908), as well as his contemporaries, including renowned flutists Philippe Gaubert (1879-1941), Marcel Moyse (1889-1984), and Georges Barrère (1876- 1944). Fleury studied with Taffanel at the Paris Conservatoire from 1895-1900. Today Taffanel is regarded as having established the modern French Flute School, which is a tradition of flute playing and pedagogy. The legacy of the French Flute School of the late-nineteenth and early twentieth centuries impacted modern flute playing with its emphasis on beautiful sound, effortless technique, and mature musical interpretation. Many of Taffanel’s predecessors emphasized technique over artistry, especially in their repertoire selections. Taffanel and his prominent students, such as Louis Fleury, highly influenced the repertoire for the flute in the twentieth century through numerous commissions of works, as well as through a revival of forgotten works of the baroque and classical periods. Louis Fleury served as the dedicatee for many new flute works; these works extended the boundaries of the previous era in the flute’s range and expression, as well as helped to elevate the place of the flute as a solo instrument in the modern era. Selected flute works dedicated to Louis Fleury between 1913 and 1923 display the expressive and technical capabilities of the flute through the use of extra-musical references, novel harmonic language, and rhythmic complexity. This document will begin with the influence of Paul Taffanel and the French Flute School on Louis Fleury’s place as vii performer and music dedicatee. It will then provide context and pertinent musical analysis for six works dedicated to Fleury: Syrinx (1913) by Claude Debussy, The Extatic Shepherd (1922) by Cyril Scott, Deux Pièces pour Flûte et Piano, I. Danse pour une déesse (1913) by Reynaldo Hahn, Suite in Three Movements, Op. 64 (1921) by Cyril Bradley Rootham, Jeux: Sonatine pour flûte et piano (1923) by Jacques Ibert, and Sonate pour deux flûtes, Op. 75 (1922) by Charles Koechlin. viii 1 INTRODUCTION The introduction of varied musical styles plus the widespread adoption of the modern flute in the twentieth century brought a wealth of change for the flute repertoire. Flutists required an instrument that could relay the subtle tone colors of Claude Debussy’s Prélude à l'après-midi d'un faune while also being able to master the brilliant runs in Stravinsky’s Firebird. German flutist Theobald Boehm (1794-1881) had invented the modern, cylindrical-bore flute in 1847; Boehm created an improved instrument that was based on acoustic relationships, as well as a modified fingering system. Before Boehm’s improvements, the flute’s tone holes were placed according to ergonomic requirements rather than acoustic measurements, often sacrificing excellent tone and intonation. With this Boehm-system flute came the opportunity for faster technique, improved intonation, and more varied tone colors. However, at first Boehm’s flute was not readily accepted in Germany, or even across Europe. A French flutist, Louis Dorus (1812-1896), was one of the early supporters of the instrument. As the flute professor at the Paris Conservatoire from 1860-1868, Dorus required his students to perform on the Boehm flute as well.1 Dorus began a new tradition of flute playing at the Conservatoire by adopting this modern flute, as well as by exploring flute repertoire that reached beyond the romantic style. One of Dorus’ students, Paul Taffanel (1844-1908), continued this tradition even further through commissioning new works for the flute, as well as performing works from the baroque and classical periods.
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