About this Recording 8. As a composer, Gaubert was not an innovator, but he assimilated many of the innovations of Franck, Ravel and Debussy, leaving not only music for the flute but also contributions to opera, ballet, orchestral music and songs. So begins, beguilingly, Soir sur la plaine Evening on the Plain , with a brief warm-up centered on G sharp. For good measure, the flautist repeats the exercise down an octave, whereupon the piano chimes in with a few chords, and having determined that our G sharps are in tune, we launch into the piece itself.
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About this Recording 8. As a composer, Gaubert was not an innovator, but he assimilated many of the innovations of Franck, Ravel and Debussy, leaving not only music for the flute but also contributions to opera, ballet, orchestral music and songs. So begins, beguilingly, Soir sur la plaine Evening on the Plain , with a brief warm-up centered on G sharp.
For good measure, the flautist repeats the exercise down an octave, whereupon the piano chimes in with a few chords, and having determined that our G sharps are in tune, we launch into the piece itself.
The following Orientale, the second of the Deux esquisses Two Sketches gives a glimpse, from a safe distance, of the mysterious and exotic East. Philippe Gaubert created almost single-handedly a repertoire of sonatas, chamber works and shorter pieces that reflect the revolution in flute playing initiated by Debussy and by the flute-maker Theobald Boehm, which is described more fully in Volume II of this series Naxos 8.
To put flautists succinctly through their paces, both pieces consist of a lyrical introduction and a virtuosic conclusion.
It is regrettable that Gaubert never wrote a flute concerto. As the composer of many successful largescale orchestral works, he would have been a prime candidate for the task.
He did, however, compose the brief Sicilienne for flute and orchestra, which would serve admirably as an encore after a flute concerto, but which has achieved wider currency in a transcription for flute and piano, presumably by Gaubert himself. The two Romances, composed just a few years apart, form a contrasting pair. By the mid nineteenth century the Industrial Revolution had created a numerous, leisurely, and wellto- do middle class in England and on the Continent, and with it came a growing demand for music to grace the bourgeois home.
No respectable Victorian parlour lacked a piano; a modicum of musical ability was among the expected accomplishments of a lady, and was not considered suspect in a gentleman. Meanwhile an expanding music-publishing business thrived on the demand for new material, which was satisfied by an effusion of salon pieces, variations on Scottish and Irish airs, and potpourris on popular opera tunes, all penned by a host of distinctly minor composers, most of them flautists themselves.
Meanwhile such stuffy ancients as Bach, Gluck, Lully and Mozart languished in obscurity. As Philippe Gaubert graduated from the Paris Conservatoire in this technically brilliant but musically impoverished tradition was beginning to change. Throughout his career Taffanel had gathered material for a comprehensive treatise covering the history, theory, and practice of the flute. In a further effort to revive the baroque and classical flute repertoire Gaubert initiated in a series of transcriptions, with assistance from George Catherine in the preparation of piano accompaniments.
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Philippe Gaubert: Sicilienne for Flute and Piano: Flute
Philippe Gaubert was a distinguished performer on the Flute. It comes as no surprise, therefore, that his compositions for the instrument are at the forefront of the Flute's repertoire, Sicilienne being no exception. It was during this time that Gaubert composed, including his Sicilienne which was published in Addressing many technical features, including flourishing semiquaver passages, a wide range, changing time signatures, chromaticism, a variety in dynamics and dotted rhythms, Sicilienne is a pleasantly inspiring piece for aspiring flautists. All categories. My account.
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Sicilienne for flute & piano
Philippe Gaubert: Sicilienne for Flute and Piano (Piano Accompaniment)