Classical Music | Music for Flute

Gabriel Fauré

Morceau de Concours  Play

Kristin Paxinos Flute

Recorded on 01/09/2007, uploaded on 01/10/2009

Musician's or Publisher's Notes

When Paul Taffanel accepted the position of Professor of Flute at the prestigious Paris Conservatoire in 1893, he set out to reshape the institution’s repertoire and teaching methods, and in doing so greatly influenced flute performance for the next half century. He became the founder of what became known as the French Flute School and was an inspiring teacher. He was also instrumental in reviving the works of older composers—in particular, J. S. Bach, which brought the now four-score year old Bach Revival to France. It is no surprise, then, that when Gabriel Fauré became the Professor of Composition in 1896, Taffanel commissioned two works from his friend: the Fantaisie, op. 79 and Morceau de Concours. The commissions came from Taffanel in 1898 and the works were to be used as part of the examinations that summer. The first was a virtuosic piece to be accompanied by the piano or an orchestra, and Fauré feverishly pushed aside the orchestration of his incidental music for Maeterlinck’s Pelléas et Mélisande to set to work on it in June of that year. The latter piece, on the other hand, is a simple, but charming, sight-reading piece. A mere thirty-three measures in length, it consists of a flowing and serene melodic line, allotted solely to the flute, obediently wrought from the scales, arpeggios, and figurations one expects to find in such a piece, and supported by simple chords in the piano. Yet, Fauré quite effectively masks these technical obligations and creates, to a certain degree, a charming miniature.     Joseph DuBose

Morceau de Concours                           GabrielFauré

Gabriel Fauré was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught. Fauré was appointed Professor of Composition at the Paris Conservatoire in 1896. It was there that he composed Morceau de Concours  - originally written as a sight-reading piece for the competition. This brief piece is a mere arabesque dutifully spun out in scales, arpeggios, grace notes, and mordents, all played over a spare piano accompaniment.     Kristin Paxinos