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|Sonate pour clarinette et piano|
|Chamber music by Francis Poulenc|
|Dedication||Memory of Arthur Honegger|
The Sonate pour clarinette et piano (Clarinet Sonata), FP 184, for clarinet in B-flat and piano by Francis Poulenc dates from 1962 and is one of the last pieces he completed. It is dedicated to the memory of an old friend, the Swiss composer Arthur Honegger, who like Poulenc had belonged to the group Les Six. A typical performance takes about 13 minutes.
The sonata is in three movements:
- 1. Allegro tristamente (Allegretto - Très calme - Tempo allegretto)
- 2. Romanza (Très calme)
- 3. Allegro con fuoco (Très animé)
The structure differs somewhat from the fast-slow-fast pattern of a traditional sonata in that the first movement is itself split into three sections in the pattern fast-slow-fast. It bears the somewhat paradoxical subtitle 'Allegro tristamente': accordingly, the piece is always in motion, but proceeds with a sense of grieving. After a brief fortissimo introduction consisting of angry spurts of figuration in the clarinet punctuated by piano chords, the piano quiets to a murmur. The clarinet's lines are built of a self-perpetuating series of arcs that leave a shape but not a tune in our ears. At one point the clarinet seems stuck in a motivic rut, sadly leaping up and down between octave B tones over a shifting harmonic background. As the movement ends, the lingering memory is a fuzzy one of melancholy gestures and moods.Wwe 2k15 pc activation key download.
The second movement, 'Romanza,' is both clearer in its melodic makeup and more cathartic, perhaps, in its emotional expression. The clarinet melody is simple and somber throughout, but is elaborately embroidered in a few places, as if losing composure. Two particularly poignant examples are the sixty-fourth note runs near the beginning, and the trembling half-step figure that appears at the beginning and end.
The third movement, 'Allegro con fuoco,' energetically combines various nimble, articulate, and rhapsodic themes, bookended by a delightfully clownish tune—a mixture of serious and silly that well represents Poulenc's oeuvre as a whole.
The famous clarinetist Benny Goodman, who commissioned the piece, was intended to premiere it with the composer accompanying. Poulenc died suddenly of a heart attack on 30 January 1963 before it was published, and an editor was employed to ascertain the identity of some notes, as well as provide missing dynamics and articulations. The premiere was given at New York City's Carnegie Hall by Benny Goodman and Leonard Bernstein on April 10, 1963. Harold C. Schonberg, music critic of The New York Times had this to say: 'Poulenc was not a 'big' composer, for his emotional range was too restricted. But what he did, he did perfectly, and his music shows remarkable finish, style and refinement.. The sonata..is typical Poulenc. In the first movement, skittish thematic elements are broken up by a broadly melodic middle section. The slow movement is one of those melting, long-phrased and unabashed sentimental affairs that nobody but Poulenc could carry off. Weakest of the three movements is the finale, which races along but has little immediacy. Here Poulenc's inspiration seems to have run out.'
Additional clarinet sonatas
Early in his career, Poulenc composed two other sonatas featuring the clarinet. These works, the Sonata for two clarinets and the Sonata for clarinet and bassoon, are representative of an early style of experimentation for Poulenc. Both works make use of 'wrong-note' dissonance and mix tonal harmony with modal harmony. Texturally, the works feature parallelism, imitation, and melody with accompaniment. Both works are very brief and could perhaps have been titled sonatina.
In 1918, at age 19, Poulenc composed the Sonata for two clarinets (FP7), which features one player on B♭ clarinet and the other on A clarinet. The 6-minute piece is in three movements, marked:
- Andante: Très lent
- Vif: Vite avec joie
One of Poulenc's earliest sonatas, he referred to it as an 'entertainment' and later revised it in 1945. The work is brief, with two fast movements bookending a slow middle movement that features the first clarinet player in solo role with the second clarinet taking an accompaniment role with an ostinato. Somewhat melodically sparse, the piece features repetition, sequences, and shifting meters, recalling Eric Satie and Igor Stravinsky and pointing the way forward for Poulenc's developing style.
In 1922, Poulenc composed the Sonata for clarinet and bassoon (FP32), which he later revised in 1945. The 8-minute piece is in three movements, marked:
- Allegro: Très rythme
- Romance: Andante très doux
- Final: Très animé
Slightly more developed than the Sonata for two clarinets, the piece follows the same fast-slow-fast pattern, but contains more melodic material. The work also reflects Poulenc's study of Bach's counterpoint, with the bassoon sometimes taking the role of a quasi-basso continuo.
Other woodwind sonatas
The clarinet sonata is one of three that Poulenc wrote for solo woodwind and piano, part of a planned set that he did not live to complete. A sonata for flute was composed in 1956, while one for oboe was completed a few weeks after the one for clarinet. A sonata for bassoon was never begun.
Like the clarinet sonata, the oboe sonata is dedicated to the memory of a lost friend: in this case, Sergei Prokofiev. Poulenc modified his usual fast-slow-fast pattern of movements to slow-fast-slow. The concluding lament is particularly suited to the qualities of the oboe. The flute sonata shares with the clarinet/piano work a structure that features a more restrained attitude in the first two movements, followed by a more playful finale.
As scholar and biographer Keith Daniel observes, certain thematic materials appear in all three works. The thirty-second note figure that opens the flute sonata appears with some alteration in the first movement of the oboe sonata, and in rough inversion during the second movement of the one for clarinet; likewise, a motive consisting of a dotted note filled out by two shorter notes appears in multiple places in all three sonatas. Finally, Daniel notes the overall similarity of mood in the second movements of the flute and clarinet sonatas.
Published scores of clarinet sonata(s)
- Sonata for clarinet and piano. London: Chester Music, cat. no. CH61763, ed. Sachania.
- Sonata for clarinet and bassoon. London: Chester Music, cat. no. CH00219,
Fredrik Fors, clarinet; Sveinung Bjelland, piano (Harmonia Mundi HMN911853; see recording details at Fredrik Fors).
- ^ abSchonberg, Harold. 'Music: A Tribute to Francis Poulenc' in The New York Times, April 11, 1963. Accessed 2 September 2009. Registration and purchase required.
- ^ abcFischer, Guido (2004), translated by Charles Johnston. Untitled essay in the booklet accompanying Harmonia MundiCDHMN911853.
- ^ abcMinor, Janice Louise (2004). ''Were They Truly Neoclassic?' a Study of French Neoclassicism Through Selected Clarinet Sonatas by 'Les Six' Composers: Arthur Honegger, Germaine Tailleferre, Darius Milhaud, and Francis Poulenc'. p. 45.
- ^Bellman, Hector. 'Sonata for 2 Clarinets'. All Music Guide.
- ^Roger Nichols: 'Poulenc, Francis' in Sadie.
- ^Chester Novello prod. page. Accessed 2 September 2009.
- ^J.W. Pepper prod. page Accessed 2 September 2009.
- ^Chester Novello prod. page. Accessed 2 May 2011
- Daniel, Keith (1982). Francis Poulenc, His Artistic Development and Musical Style. Ann Arbor: UMI Research Press. ISBN978-0-8357-1909-4
- Sadie, Stanley., & Tyrrell, J. (2001). The New Grove Dictionary of Music and Musicians. New York: Grove's Dictionaries. ISBN1-56159-239-0
- Schmidt, Carl B. (1995). The Music of Francis Poulenc (1899–1963): A Catalogue. Oxford: Clarendon Press. ISBN978-0-19-816336-7.
This week I will be discussing the Poulenc Sonata (Available on a piece of music that is as beautiful as the Cantilena, how can you not sing?. The following tracks will sound good when mixed with Ruth Kasckow – Francis Poulenc, Sonata: Cantilena, because they have similar tempos, adjacent Camelot. Download the interactive sheet music Sonata for Flute and Piano, FP – II. Cantilena by Poulenc – App available on PC, Mac, Android and iPad.
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However, it is unknown whether this planned sonata is directly related to the published sonata. Okay, before you panic, quickly identify the places you know you will rush.
Remember your Scales — I hate to sound like a broken record, but the melodic section between Rehearsal 8 and Rehearsal 12 is based on scales. This gives the note more stability through the use of an added vent, preventing it from cracking. Views Read Edit View history. Playing in the high register requires a very strong embouchure that directs a smaller, more pressurized air stream out and downward to prevent sharpness okay, I mean, MORE sharpness to an already sharp register.
Duck Lips — No, I am not talking about taking a flute selfie while you pay the 2 nd movement although if you must, I invite all duck face selfies to my blog. The practice suggestions below are a bit more straightforward and compact than last week because this work is based on shorter units of ideas rather than longer, larger concepts. Specific phrases that may be practiced in this fashion include measures and measure Leave a Reply Cancel reply Enter your comment here Simply place your right hand pinky between the low D and C keys on the foot joint, pressing both at the same time, while using the standard fingering for the high E.
Practice Blueprints – Poulenc Sonata Rachel Taylor Geier
For example, the phrase beginning at Rehearsal 8 starts clearly in F major but quickly modulates to what seems like D minor in measure 75, A minor beginning in measure 76, and F minor in measure Practice the figure slowly, resting where indicated, and increase the tempo until the separate figures fall perfectly under your fingers. The Poulenc Sonata includes a number of double tonguing passages that are marked with the same ominous slashes through already fast moving notes that we saw last week in the Hue Fantasie.
As the saying goes, when you visualize, you materialize. But when you are playing a piece of music that is as beautiful as the Cantklena, how can you not sing?
Are you ready to move those fingers?? Create your best duck face when playing this movement and you will also create your best sound quality in the high register.
Compositions by Francis Poulenc Flute sonatas compositions Funerary and memorial compositions. Memory of Elizabeth Sprague Coolidge. What other practice techniques do you use for the Poulenc Sonata?
You cannot go from 20 miles per hour to 60 miles per hour on the highway all at once. Sing through the melody beginning from measure 3 of the movement and then translate that beautiful connection between the notes onto your instrument.
Chamber music by Francis Poulenc. Jean-Pierre Rampal learned about the sonata in a phone call from Poulenc.
Trill Trick — Another ornamental device used heavily throughout the Poulenc Sonata, and found consistently here in the opening movement, is the trill. The High E Trick — The Poulenc Sonata begins with a 32 nd note, 4 pitch, pick-up figure to the primary melody in the opening movement, beginning on a dreaded high Poulnc.
Create a Story for Mood Changes — There are several mood changes in the final movement of this Sonata. Sonata for Flute and Piano Music Sales Americaa seminal work from the French flute canon, loved and performed by flutists all over the world I promise next week I will discuss a work from somewhere other than France! The occasion was marked in his autobiography:.
Francis Poulenc, Sonata: Cantilena
It is now one of Poulenc’s best known works and is a prominent feature in 20th century flute repertoire. An easy trick that one of my Interlochen teachers taught me back in the day has helped me and many of my students master this note and provide it with the grace it deserves for execution in this piece.
Sonata da camera Sonata da chiesa Sonatina Trio sonata. Requiring the performer to place an articulation over these notes, rather than slurring pojlenc all together, deliberately slows down the music and prevents the possibility of rushing.
This movement is somewhat like a very slow version of a Trever Wye style flexibility exercise with notes that stretch from the lowest register to the high register and back quite poulenv.
Bracket these sections with the name of the scale to save your brain and fingers the headache of trying to figure out the notes when you get there. Learn how your comment data is processed. For more of a challenge, and if you want to further embarrass yourself, attempt to sing the melody and play the notes at the same time. When you put this passage back and play as written, you will be able to hear the natural break in the chunks which will also help you to not rush the phrase.
Poulenc: Flute Sonata, FP II. Cantilena, a song by Francis Poulenc, Emmanuel Pahud on Spotify
This site uses Akismet to reduce spam. Notify me of new comments via email. Spivacke again offered the commission in May, and this time Poulenc responded in August when he noted that the opera cantilenaa in order and he could write something for him.