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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: 6 minutes 44 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)

Deux Dialogues, Op 114
composer
1974; for solo flute; dedicated to Jacques Le Trocquer

Modéré  [3'44]
Animé  [3'00]

Introduction  EnglishFrançaisDeutsch
Durey’s Deux Dialogues, Op 114 (1974) for solo flute, are dedicated to Jacques Le Trocquer. These pieces explore various aspects of musical ‘conversation’, including simple repetition of material, echo effects, contrasts of register, dynamic, character and contour, together with use of both simple and decorated melodic statements. Rests are used to separate and articulate the ‘voices’. Additionally, the second piece introduces a portion of material from the first (as a larger-scale echo) and features some mischievously mocking trills in its upper voice.

from notes by Deborah Mawer © 2001

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