FRANCESCA ARNONE

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DEDICATIONS

DEDICATIONS

Paris Conservatoire Connections for Flute and Piano


Rene-Emmanuel Baton, Melanie Bonis, Pierre Camus, Pierre Max Dubois, Philippe Gaubert, Charles Koechlin, Albert Roussel

FRANCESCA ARNONE
TERRY LYNN HUDSON


[MS1431]

$12.95

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PROGRAM NOTES
French connections abound on this recording of flute and piano compositions written between 1913 and 1959. This period of less than fifty years illuminates the inspired collaborations of many of the flute world’s most prestigious teachers, performers and composers of the Paris Conservatoire, illustrating a mutually rich symbiosis of French artists. Like most heritages, it may be difficult to see
where one influence ends and the next begins, yet the flute remains the happy recipient of a rich and satisfying repertoire resulting from this complicated family tree of composers and artist-teachers.

The works on this recording present this fascinating web of connections. Adolphe Hennebains (1862-1914; dedicatee of the Camus in 1913 and the flutist who premiered the Koechlin in 1913)
succeeded Paul Taffanel (1876-1944) as the Paris Conservatoire’s flute professor. Hennebains also
taught Marcel Moyse (1889-1984), who later studied with Philippe Gaubert (1879-1941). Gaubert taught at the Conservatoire and later dedicated his Deuxième Sonate (1923) to Moyse, his highly
successful student. Like Koechlin, Rhené-Baton claimed strong family ties to Brittany. Also like Koechlin with his Sonata, Op.75, Rhené-Baton dedicated his Passacaille to Louis Fleury (1878-1926), a student of Taffanel, for whom it is very likely that Bonis composed her flute works. Roussel dedicated movements of his Joueurs de Flûte for flute and piano to Fleury, Gaubert and Moyse; Roussel’s work on this recording is dedicated to Georges Barrère (1876-1944; a student of Taffanel). It is not clear who premiered the most recent work on this recording, the Dubois Sonate, although Gaston Crunelle (1898-1990; student of Gaubert and Hennebains) was the Paris Conservatoire’s flute professor, with assistant, Fernand Caratgé (1902-1991; also a student of Gaubert), at the time of composition. Many of these pieces, including the Koechlin, Roussel, Gaubert and Dubois, first came to my attention through students of Barrère, who immigrated to the United States in 1905 and taught generations of flutists.

Francesca Arnone is an active flute and piccolo soloist, chamber musician and clinician. She has performed in North and South America, Europe and Asia, in notable venues including St. Martin-in-
the-Fields, Royal Northern College of Music, Royal Conservatory of Madrid and the Split Academy of Music in Croatia. Also a veteran of regional and opera orchestras in the United States, Spain and
Mexico, Arnone has been a concerto soloist on flute, alto flute and piccolo, playing repertoire ranging from Johann Sebastian Bach to Chen Yi. Currently flute professor at Baylor University, she has been recognized by both the National Flute Association and West Virginia University for outstanding  research. Arnone earned flute performance degrees from Oberlin Conservatory, San Francisco
Conservatory and the University of Miami, where she studied with Robert Willoughby, Julia Bogorad-Kogan, Tim Day and Christine Nield. [www.francescaarnone.com]

Pianist Terry Lynn Hudson is a committed performer, having given recitals, presentations and master classes throughout the United States and in Central America and Europe. She has a special affinity for French piano literature and contemporary ensemble works, and her programs often feature this repertoire. Hudson has been a prizewinner in numerous state and regional competitions and in the International Piano Recording Competition, and also has been honored for her academic and leadership accomplishments. Her work has been published in American Music Teacher, MTNA E-Journal and College Music Symposium. A native of Maryland, she began her formal musical study at the Peabody Preparatory and completed the institution’s Advanced Certificate program in piano. She earned degrees in Piano Performance from James Madison University, the University of Cincinnati College-Conservatory of Music and the University of Texas at Austin, where she was named the Couper Presidential Scholar in Piano Performance. Hudson has served on the piano faculty of Baylor University since 1995.

PROGRAM

PIERRE CAMUS (1885-1948)
CHANSON ET BADINERIE (1913)
Chanson
Badinerie

CHARLES KOECHLIN (1867-1950)
SONATE POUR PIANO ET FLÛTE, OP. 52 (1913)
Adagio molto tranquillo
Allegretto très modéré mais sans trainer (mouvement de sicilienne)
Final

RENÉ-EMMANUEL BATON [RHENÉ-BATON] (1879-1949)
PASSACAILLE, OP. 35 (1924)

ALBERT ROUSSEL (1869-1937)
ANDANTE ET SCHERZO, OP. 51 (1924)

PHILIPPE GAUBERT (1879-1941)
DEUXIÈME SONATE POUR FLÛTE ET PIANO (1924)
(Pastorale) A l’aise, mais sans lenteur
Andante
Assez vif (à un temps)

MÉLANIE BONIS [MEL BONIS] (1858–1937)
PIÈCE POUR FOR FLÛTE ET PIANO, OP. 189

SCHERZO (FINAL), OP. POSTH.187

PIERRE MAX DUBOIS (1930-1993)
SONATE POUR FLÛTE ET PIANO (1959)
Allegro
Recitativo
Rondo
 





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[MS1457]