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Hyperion Records

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Le quai aux fleurs, Paris by Georges Stein (1870-1955)
Sotheby’s Picture Library
Track(s) taken from CDH55386
Recording details: April 2000
Henry Wood Hall, London, United Kingdom
Produced by Mark Brown
Engineered by Tony Faulkner
Release date: February 2001
Total duration: 9 minutes 17 seconds

'Emily Beynon plays quite beautifully throughout. This is a welcome recording' (Gramophone)

'An ingenious piece of programming by the Royal Concertgebouw Orchestra's (Welsh) principal flautist and the pianist Andrew West: they have gathered together the complete works for flute and piano by the group of French composers known as Les Six and titled the record after the only work—a set of solo piano pieces—on which all six collaborated. Although the 'collectivisation' of these six musical personalities was the brainwave of a music critic in 1920, the flute and piano pieces recorded here date from the early 1920s to the 1970s. Poulenc's dazzling Sonata (1957), brilliantly played by Beynon and West, is the highlight of an absorbing and hugely entertaining disc' (The Sunday Times)

'Hyperion has enriched the catalogs with far more than its fair share of superb releases, and this is yet another one … urgently recommended to everyone who has even a passing interest in fine flute-playing or works of this period' (Fanfare, USA)

'Highly recommended' (Sun Journal, USA)

Sonatine, Op 25
1929; dedicated to the critic Roland-Manuel

Nonchalant  [3'32]
Lent et soutenu  [2'29]
Assez animé  [3'16]

Introduction  EnglishFrançaisDeutsch
Durey’s Sonatine, Op 25 (1929), dedicated to the critic Roland-Manuel, commences with a movement aptly marked ‘Nonchalant’: the relaxed and sustained flute line periodically acquires increased momentum which is then dissipated; as with the Milhaud the expressive markings are quite detailed, while the 5/8 metre creates some unusual rhythmic groupings. A spaciously free ‘Lent et soutenu’, with modal re-inflections, leads without break into a playful finale (‘Assez animé’), whose continuous triplet-quaver accompaniment on the piano sounds almost automated. Roles are then reversed as the flute provides an arpeggiated descant over a central piano tune; after a short reprise the music dies away, as if in a dream.

from notes by Deborah Mawer © 2001

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