Werke von C. Reinecke, C. Debussy, L. Boulanger, F. Poulenc

Werke Werke von Carl Reinecke, Claude Debussy, Lili Boulanger, Francis Poulenc
Veronica Kraneis (Konzertflöte), Carmen Daniela (Klavier)


Carl Reinecke (1824 - 1910)
Sonate "Undine", op. 167 für Flöte und Klavier
1. Allegro
2. Intermezzo. Allegretto vivace
3. Andante
4. Finale. Allegro molto agitato

Claude Debussy (1862 - 1918)
Suite bergamasque für Klavier
5. Prelude
6. Menuet
7. Clair du lune
8. Passepied

Lili Boulanger (1893 - 1918)
9. D'un matin du printemps für Flöte und Klavier

Francis Poulenc (1899 - 1963)
Sonate (1956) für Fllöte und Klavier
10. Allegretto malinconico
11. Cantilena
12. Presto giocoso

Carl Reinicke (1824 - 1910) was already considered a promising talent in his early years. After partly self-taught, later on professional studies, C. Reinicke later worked in Bremen, from 1848 on, and in Paris, Cologne, Breslau and Barmen.
Between 1860 and 1895 Reinicke worked as the Conductor of the Gewandhaus in Leipzig and until 1902 taught piano and composition there.
Carl Reinicke was described by his peers as a thoughtful, matter-of-fact personality, with an eye on young musicians. As far as composing was concerned, the classics were his inspiration. His Oeuvre is voluminous, including four operas, one oratory, masses and several works for choirs and orchestras, symphonies, four piano concertos and a large number of chamber and vocal music. Inspired by a tale by Friedrich de la Motte-Fouqué, the flute sonata Undine features the romantic tonal language of the composer in four phrases.
The fate of the water nymph Undine, who leaves her native watery element in order to join her mortal lover who has previously sworn to be faithful, is beautifully illustrated. Her lover's betrayal forces her back into the flood.

Claude Debussy (1862 - 1918). Suite bergamasque originated in 1890, inspired by a poem by Paul Verlaine. In his poem, Verlaine develops a play of words with masque et bergamasque, alluding to the landscape around Bergamo, considered a traditional site in the Commmedia dell'arte.
Debussy titled the phrases of his Suite bergamasque in part traditionally as Prélude, Menuett and Passepied, and uses the opportunity to present the stylized character of these old dances. Particularly interesting is the Clair de lune. Here the composer lets the musical moonlight shine on "Lovers in the lilac", reminiscing on the painting by Marc Chagall by the same title.
With his music, Debussy metrically transports us into an elves dance by night, something we may experience only while dreaming - the real intertwined with the fantastic.
In the world of music, Debussy's Clair de lune is considered the impressionist answer and further development of Chopin's Nocturnes.

Lili Boulanger (1893-1918) originated from a family well known in the musical world of Paris, going back to the 18th century. Her impressive musical talents were already visible during her early childhood. Gabriel Fauré, a regular visitor at the Boulanger family residence, accompanied five-years-old Lili on the piano when she sang his songs.
In spite of her frailty - as a child, she suffered from tuberculosis - Lili Boulanger learned to play the piano, the harp, violin and violoncello.
Her studies in composition, among others with Georges Causade and Paul Vidal, were crowned by the Rome-Award, which she received in 1913, as the first woman ever. She died at the early age of 24.
For the German flute, Lili Boulanger composed a Nocturne (in 1911) and the work at issue, D'un matin du printemps. A small, colourful composition, musically depicting the beginning of a day in spring.

Francis Poulenc (1899 - 1963) was a member of the Six, a group of young composers encompassing Durey, Milhaud, Honnegger, Tailleferre, Auric and Poulenc. Even though their tempers and personalities differed greatly, their membership to Six, if for a short time only, connected them in their efforts to differ in their own compositions from Wagnerianism, the academianism of the Conservatoire and Impressionism.
The desire to compose music which was simple and direct united these musicians for a short period of time.
For a long time, Poulenc was reputed to be somebody like a musical clown. It took his critics quite a while to acknowledge him as a serious composer and to become aware of his excellent sacral music and chamber music compositions.
While touring with the great baritone Pierre Bernac for 25 years, Poulenc musically arranged almost all of the great poets of the 20th century. The flute Sonata in question, written during the last years of the composer (1956), impressively manifests Poulenc' s special relationship to the vocal element in the 2. Phrase Cantilena.

Hannah Rautenberg

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