A t s u k o K o g a , F l u t e M a y u k o M i y a t a , P i a n o
Romantic Works for Flute and Piano
b y C h . - M . Wi d o r, C h . G o u n o d , J . M a s s e n e t , F. B o r n e , P h . G a u b e r t , F. S c h u b e r t a n d C . S a i n t - S a n s
Charles-Marie Widor (18441937) Suite Op. 34 pour flute et piano
01 Moderato [04'07]02 Scherzo [02'40]03 Romance [05'17]04 Final [05'59]
Johann Sebastian Bach (16851750) /Charles Gounod (18181893)
05 Ave Maria [02'26]
Jules Massenet (18421912)
06 Mditation de Thas [04'41]
Franois Borne (18401920)
07 Fantaisie Brillante on themes from Bizet's Carmen [11'02]
Philippe Gaubert (18791941)
08 Madrigal [04'02]
Franz Schubert (17971828)Introduction and Variations on Trockne Blumen, Op. 160, D 802
09 Introduction [03'15]10 Theme Trockne Blumen [02'16]11 Variation IVII [14'56]
Charles Camille Saint-Sans (18351921)
12 Le cygneThe Swan [02'48]
Total Time [63'37]
The French organist, composer and teach-er Charles -Mar ie Widor worked for 64 years as titular organist at the church of Saint-Sulpice in Paris, and was also a professor of organ and composition at the Paris Conservatoire. Among his students were well-known composers and organ-ists as Arthur Honegger, Darius Milhaud and Albert Schweitzer. Widors composi-
tional style was influenced among others by his famous contemporaries Camille Saint-Sans, Csar Franck, Gioacchino Rossini, and Franz Liszt. Thereby their impact on the development of Europe-an music of the late Romantic period of the 19th Century of French modernism proved very fruitful to Charles-Marie Widor. The composer loved German mu-sic, and tried to inspire the French public for it. He played numerous works by Jo-hann Sebastian Bach and performed his
cantatas and oratorios. His Suite for Flute and Piano, Op. 34 was written in 1898, possibly inspired by the impressionis-tic orchestral Prlude laprs-midi dun faune by Claude Debussy. Not be ignored, however, are Widors ties with German romantic music, for example, by Robert Schumann and Felix Mendelssohn Bar-tholdy.
The French composer, conductor and organist Charles Gounod experi-enced in 1859 with his breakthrough as a composer with the opera Faust. But world famous he became in 1852 with Mdita-tion sur le 1er Prlude de Bachknown as Ave Maria. The composer wrote a melody for violin and piano on the Prelude in C major from The Well-Tempered Clavier by Johann Sebast ian Bach and overlaid this 1859 with the text of the Latin prayer Ave Maria. He introduced minor changes
Romantic Works for Flute and Piano
to Bachs original composition, which has been taken back intentionally for this re-lease.
The French composer Ju les Massenet taught from 1878 to 1896 at the Paris Conservatory as professor of composition. With some operas, songs and orchestral suites, which show a preference for Span-ish flavor, he was quickly successful. His works include the opera Manon, Werther and Don Quixote, as well as the music for Les Erinnyes with the known Elgie, also ballets, incidental music, orchestral and chamber music, songs, and an oratorio. At home in the salons all over the world, was the Mditation from his opera Thas in 1894. The opera tells the story of the con-version of the courtesan Thas to Christi-anity by a holy man named Athanal and by its simultaneous but inverse conver-sion to a life that is dominated by desire for her. The Mditation (originally for solo violin and orchestra) connects the two scenes of Act II, and represents the begin-ning of the conversion of Thas.
Franois Borne was a principal flut-ist at the Grand Thtre in Bordeaux and
professor for flute at the Conservatory of Toulouse. Together with his friend, the flute maker Djalma Juillot he made tech-nical improvements to the Boehm flute. In the Carmen Fantasy of 1880 Borne uses the entire range of the new instrument and gives the flutist the opportunity to show his virtuosity. Thereby composer composer uses popular themes and mo-tifs from the opera Carmen by Georges Bizet.
Phi l ippe Gauber t was a composer, conductor and one of the great French flutist of the early 20th century. He com-posed a number of instrumental, orches-tral and vocal music, and two operas. Par-ticularly successful were his compositions for flute. Madrigal was written in 1908, which is the year of death of his teacher, Paul Taffanel. The introduction seems to have been inspired by Csar Francks Violin Sonata, although melodically is connected to the style of Faur. Madri-gal is one of the most popular pieces of Philippe Gaubert.
The Austrian composer Franz Schuber t died with only 31 years quite
young, but left a significant oeuvre in-cluding more than 700 songs. In No-vember 1823, he finished the song cycle The Beautiful Miller based on poems by Wilhelm Mller.
Two months later Schubert used the 18th Song from the cycle for his concert piece Introduction and Variations on Trockne Blumen (Dry Flowers). Theme and variations were composed in the com-mon manner of the 19th century, how-ever, preceded by an introduction where one can hear the rhythmic elements of the upcoming theme and a funeral pro-cession.
The Frenchman Camil le Sa int-Sans was a composer, conductor, organist, and pianist. At the age of eleven, he gave his first recital and at the age of fifteen he already he composed the first of his five symphonies. 1868 he completed the opera Samson et Dalila. Of particular im-portance is a late work by the composer, the musical suite for chamber orchestra Le Carnaval des Animaux (The Carnival of the Animals). Le Cygne (The Swan), it is the 13th movement. In the original this wonderful romance is played by the cello.
The musiciansB i o g r a p h i c a l n o t e s
The flautist Atsuko Koga was born in Fukuoka, Japan. After three years of train-ing in Tokyo, she transferred to the Con-servatoire National Suprieur de Musique et de Danse de Paris, where she graduated with distinction. She has won prizes at many international competitions, includ-ing first prize at the Lutce in Paris, at the Jeunesse Musical in Bucharest and in Paris again at the Gaston Crunelle. She was awarded second prize at Maria Canals in Barcelona, Le Sprendel in Tokyo and the international chamber music competition Caltanisetta in Italy as half of a flute and piano duo. Atsuko Koga has been a soloist with, amongst others, the Toho Philharmonic in Tokyo, the Kyushu Philharmonic in Fukuoka, the Orchestre de CNSM de Paris, the Orchestre de Flute de Paris, the Phil-harmonie Jeunesse Musical in Bucharest, and in Germany with Villa Musica En-semble, Hofer Symphoniker, Staaskapelle Weimar, Magdeburgische Philharmonie,
Kammerphilharmonie der Ascania, and annually with the Rossini Quartet. Atsuko Koga has been invited to nu-merous music festivals and her concerts have been documented in many record-ings for radio and television in Japan, America, Germany, Austria, France, Italy, Spain, the Netherlands, Norway, Roma-nia, and Morocco.
May uko Miyata began her piano stud-ies at the age of 18 in Poland and Germa-ny and graduated from the Hochschule fr Musik und Theater Rostock with distinction. Alongside perfecting her pi-ano playing, she also gained experience as an accompanist and opera rptiteur. Besides numerous solo performances and a series of chamber music concerts, Mayukos career has so far also included playing several times as a soloist with var-ious well-known orchestras, such as the Orchestra of the Mecklenburg Chamber-Soloists, the Philharmonic Orchestra Vor-pommern and the Kalisz Symphony Or-chestra in Poland. Her delicate, profound
playing garnered excellent reviews from the critics, such as from vivid colours and flowing lines the soloist achieved a sound picture of great intensity in the Darmstdter Echo. Mayuko Miyata is also a popular guest performer at festivals such as Mecklen-burg-Vorpommern as well as at the Villa Musica Festival in Rheinland-Pfalz. She won a scholarship from the Richard Wagner Association. Mayuko currently lives in Berlin and continues to perform concerts worldwide, not only as a soloist, but also as a chamber musician and ac-companist. Alongside her performances, she also holds a teaching position at the Hochschule fr Musik und Theater Ros-tock.
Der franzsische Organist, Komponist und Musikpdagoge Charles -Mar ie Widor wirkte 64 Jahre lang als Titular-Organist an der Kirche Saint-Sulpice in Paris und war auerdem Professor fr Or-gel und Komposition am Pariser Konser-vatorium. Zu seinen Studenten zhlten
bekannte Komponisten und Organisten wie Arthur Honegger, Darius Milhaud und Albert Schweitzer. Widors Kompo-sitionsstil wurde unter anderem von sei-nen berhmten Zeitgenossen Camille Saint-Sans, Csar Franck, Gioacchino Rossini und Franz Liszt beeinflusst. Da-bei prgte ihn die Entwicklung der eu-ropischen Musik von der Sptromantik des 19. Jahrhunderts zur franzsischen Moderne. Der Komponist liebte deutsche Musik und versuchte, das franzsische Publikum dafr zu begeistern. So spielte
er Werke von Johann Sebastian Bach und fhrte dessen Kantaten und Oratorien auf. Seine Suite fr Flte und Klavier op. 34 entstand 1898 mglicherweise durch eine Inspiration durch das impressionistische Orchesterwerk Prlude laprs-midi dun faune von Claude Debussy. Nicht zu ber-
hren ist aber auch Widors Verbunden-heit mit deutscher romantischer Musik, beispielsweise von Robert Schumann und Felix Mendelssohn Bartholdy.
Der franzsische Komponist, Dirigent und Organist Charles Gounod erlebte 1859 mit seiner Oper Faust den Durch-bruch als Komponist. Weltbekannt wur-de sein 1852 als Mditation sur le 1er Pr