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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: 8 minutes 55 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 76
1922; dedicated to Louis Fleury and Jean Wiéner who gave the first performance at the Concerts Wiéner in January 1923

Tendre  [3'50]
Souple  [2'25]
Clair  [2'40]

Introduction  EnglishFrançaisDeutsch
The Sonatine, Op 76, of 1922 by Milhaud is dedicated to Louis Fleury and Jean Wiéner who premiered the work in January 1923 at the Concerts Wiéner. This work enjoys both structural confidence and expressive melodic power, with the opening ‘Tendre’ especially suggesting a stylistic mixture: neoclassical Alberti-bass figurations amid Debussyesque intricacies—florid colour-washes, ornamentation and tremolo—and tempi fluctuations. The central ‘Souple’ is barcarolle-like, using a Dorian modal melody on flute (later played in counterpoint between the instruments) and strong cross-rhythms, its last augmented phrase dying away with a little blues-like gesture. The lively finale (‘Clair’) utilizes a modified sonata form with two clear themes and balanced proportions; Milhaud’s inventive writing explores contrasting characters for the same material and mock fugal effects.

from notes by Deborah Mawer © 2001

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