Linda Chatterton | Songs and Dances for Solo Flute

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Classical: Traditional Classical: Contemporary Moods: Type: Instrumental
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Songs and Dances for Solo Flute/h1>

by Linda Chatterton

“The kind of performance that sparks wild standing ovations. Definitive” says the American Record Guide of flutist Linda Chatterton, who performs solo flute works from the 18th century through to the present day in this album.
Genre: Classical: Traditional
Release Date: 

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  Song Share Time Download
1. Die Lian Hua
4:52 $0.99
2. Pièces de viole, Livre II: Les folies d'Espagne (Arr. for Solo Flute)
8:02 $0.99
3. Le vent à travers les ruines
6:12 $0.99
4. Image
4:53 $0.99
5. Flute Sonata in A Minor, Wq. 132: I. Poco Adagio
5:06 $0.99
6. Flute Sonata in A Minor, Wq. 132: II. Allegro
5:25 $0.99
7. Flute Sonata in A Minor, Wq. 132: III. Allegro
4:21 $0.99
8. Danse de la chèvre
4:11 $0.99
9. Debla (Solo VI)
12:48 $0.99
Downloads are available as MP3-320 files.


Album Notes
There is a saying that “all music is either a song or a dance.” In Songs and Dances for Solo Flute, I’ve showcased works that highlight this saying, either directly or obliquely.

In Hong Kong composer Yip Ho Kwen Austin’s Die Lian Hua, the flutist quite literally sings in Mandarin (sometimes while simultaneously playing the flute!) the words of renowned 12th century poetess Li Qingzhao. I think this is a spectacular new work for solo flute, and I’m excited to be able to present its debut recording.

Les Folies d’Espagne is the early 18th century French composer and viola da gamba virtuoso Marin Marais’ take on the famous folia, a dance in triple meter, which launches into a set of variations. In the preface to his Deuxième Livre de Pièces de violes (1701), Marais notes that his 32 variations on Les Folies could be played on the organ, the theorbo, the lute, the harpsichord, the violin and the flute – so, very flexible to what (or who) was on hand! I have adapted the original slightly and perform 12 of the 32 variations.

Le Vent à Travers les Ruines (“Wind through the Ruins”) by Japanese-French composer Yuko Uebayashi, isn’t directly referencing a particular song, but her flute writing has a beautiful melodic quality that certainly fits with the theme of the recording. Likewise, Eugène Bozza’s Image has a lovely, improvised vocal quality about it, interspersed with lively dance-like scherzando sections.

C.P.E. Bach’s Sonata in A Minor is a fine example of the composer’s fascination with using music to imitate human speech: the first movement, in particular, uses wide melodic leaps, quick tone color and dynamic contrasts, and shifts between rapid, chattering phrases and introspective, deliberate language.

I chose Arthur Honegger’s Danse de la Chèvre (“Dance of the Goat”) for its fun programmatic elements. I imagine the piece setting the stage of a quiet, bucolic landscape until a young goat enters and creates mayhem before finally falling asleep!

The last work, Debla by Spanish composer Cristóbal Halffter, is inspired by the debla, a form of flamenco Cante Grande which has its roots in Andalusian folk melody. As Halffter writes in his preface to the piece, the debla has several notable characteristics: it is traditionally sung unaccompanied; it uses quarter-tone intervals; it contains very slow sections contrasted with rhythmic, intense sections; and, at the peak of the piece, the singer will clap out a steady rhythm as a contrast to the vocal line. Halffter uses these features to inspire his dramatic and challenging tour de force for flute, and I feel it’s a fitting conclusion to the recording.

-- Linda Chatterton



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