SONATINE FOR FLUTE AND PIANO. BY PIERRE BOULEZ. A Written Document. Submitted to the Graduate Faculty of the. Louisiana State University and. Sonatine: Pierre Boulez: In his Sonatine for flute and piano (), the tone imitations and canons progress so quickly as to leave an impression merely of. Boulez: Sonatine For Flute & Piano, Etc / Ensemble with Aimard, Pierre- Laurent, Cherrier, Sophie on CD. Order from your preferred classical music CD store.

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Rainy Day Relaxation Road Trip. The Schoenberg work is written in a post-Romantic style, while the Sonatine is most definitely serialism at its finest. The all-time greats Read about the artists who changed the world of classical music. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.

AllMusic relies heavily on JavaScript. Upon closer examination, it also appears that the choice of intervals used is limited to major thirds, sevenths, tritones noulez perfect fifths. Sexy Trippy All Moods. The French Avant-Garde in the 20th Century.

It oiano rare that a complete statement of the entire twelve tones be completed in one of Boulez ‘ works; however, we get a rare glimpse of this unique entity here. Skip to main content.

Boulez: Sonatine, Piano Sonata No. 1 – Apex: – CD | Presto Classical

Introspection Late Night Partying. The Sonatine for flute and piano serves as a perfect example of some of the stylistic variations Boulez took from his contemporaries, and why, years later, this work and those like it pianp still examined for their innovative qualities. Share on facebook twitter tumblr. Genre Chamber Music Classical.


Sonatine; Piano Sonata No. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click slnatine for further information.

The piece itself is rather short, but full of energy, with huge melodic leaps, sharp rhythmic and tempo contrasts, and an aggressive quality which never lets up until the conclusion of the piece.

From this work of his predecessor, Boulez ajd, more than anything else, the idea of “the metamorphosis of a single theme”. The first five-note theme which appears in the flute part does show up in various stages throughout the piece; keeping the piece united, these act as a landmark throughout the piece. Le Pianp Musical, Boulez ‘ writing is twelve-tone in its basic pitch material, and virtuosic in its use of the timbres, unique combinations of textures, shifts in dynamic accents, etc.

Please enable JavaScript in your browser to use the site fully. The piece gets its life from the constant push and pull of the tempo. Le Domaine Musical, Vol. Drinking Hanging Out In Love.

Boulez: Sonatine, Piano Sonata No. 1

And, with the minor reservations mentioned above, that goes for the performances, too. The Now and Present Flute. If 51 minutes seems a touch short for a CD these days, at least we have the pleasure of knowing that every note on this disc is quality-assured. Georges Barrere, for whose platinum flute Varese wrote his ground-breaking Densite Song of a Desert Bird: Chant de Linos; Boulez: While much of the music of Boulez depends upon serial and twelve tone techniques, there is no doubt that his use of these techniques is unique.


In both Densite Sonatines for flute and piano. Gramophone products and those of specially selected partners from the world of music. Boulez himself has stated the work along with its counterpart, the First Piano Sonata draws a fair amount from Schoenbergspecifically his Chamber Symphony. Streams Videos All Posts.

Also, he has limited some of his divisions of the twelve tones into groups of five, five, and two, with the use of the motif tritone to fifth. While it’s true that Boulez may have gotten the core of this idea from Schoenbergit has a life of its own in Boulez ‘ hands.

Sonatine, for flute & piano

Composition Artist Credits Sonatine. Jazz Latin New Age. Throughout most of the work, there is no true connective tissue between the flute and piano parts past the pitch choices, which perhaps leaves the variations on tempo, texture, and timbre as the unifying structure to the entire work.