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PN 0270
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PN 0270
Flute Recital: Cornewal, Sarah van - DEMERSSEMAN, J. / DONJON, J. / TULOU, J.-L. (Jean-Louis Tulou et ses eleves: La flute romantique a Paris)

Flute Recital: Cornewal, Sarah van - DEMERSSEMAN, J. / DONJON, J. / TULOU, J.-L. (Jean-Louis Tulou et ses eleves: La flute romantique a Paris)

The Classical Shop
release date: October 2012

Originally recorded in 2012

Artists:

Sarah van Cornewal

Soloist

Thomas Leininger

Soloist

Record Label
Pan Classics

Genre:

Chamber


Classical

Total Time - 78:22
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Flute Recital: Cornewal, Sarah van - DEMERSSEMAN, J. / DONJON, J. / TULOU, J.-L. (Jean-Louis Tulou et ses eleves: La flute romantique a Paris)

     
Select Complete Single Disc for
     
 

JULES DEMERSSEMAN

1 

Petite fantaisie poetique

4:18
 Sarah van Cornewal Soloist
     
2 

Bolero

2:40
 Sarah van Cornewal Soloist
     
 

Flute Sonata No. 2, Op. 23

 
3 I. Allegro vivace 6:20
 Sarah van Cornewal Soloist
     
4 II. Andante 5:33
 Thomas Leininger Soloist
     
5 III. Scherzo final 5:01
 Thomas Leininger Soloist
     
 

JEAN DONJON

6 

Etudes de salon

2:08
 Sarah van Cornewal Soloist
     
7 

Elegie

2:58
 Sarah van Cornewal Soloist
     
 

JEAN-LOUIS TULOU

 

Duo Concertant, Op. 72

 
8 I. Allegro moderato 9:00
 Sarah van Cornewal Soloist
     
9 II. Allegro appassionato 8:05
 Sarah van Cornewal Soloist
     
10 

Le cafe du roi

9:33
 Thomas Leininger Soloist
     
 

JULES DEMERSSEMAN

11 

Hommage a Tulou

10:31
 Sarah van Cornewal Soloist
     
 

JEAN-LOUIS TULOU

12 

Cavatine de la Zelmira

12:15
 Thomas Leininger Soloist


Three composers can be heard on this recording: Jean-Louis Tulou (1786-1865) and two of his students: Jules Demerssemann (1833-1866) and Jean Donjon (1821-1912). Tulou and Demerssemann left countless concertos and virtuosic solo pieces and between 1832 and 1860, every obligatory test piece for the yearly exam at the Paris Conservatoire was composed by Tulou.

These are not included here, instead, Pan Classics have chosen two types of piece: those composed for the music connoisseur, such as the ’Petite fantaisie poétique’ or the ’Boléro’ by Demerssemann; and those based on virtuosic opera arias, rewritten in ’simple’ versions for flute and piano for performance in the Parisian salons, like Tulou’s ’La Cavatine de Zelmira’ (in effect, a piano concerto with flute accompaniment) or ’Le café du roi’. Demerssemann’s ’L’hommage à Tulou’ ends in wild variations that contrast with the beautiful, unpretentious melodic lines, which fit Godfroy’s flute well. Tulou’s ’Duo Concertant’ op. 72 for two flutes mixes light music with serious passages that betray the influence of Beethoven. In the score of Demerssemann’s Deuxième Sonate op. 23, the tempi, character and nuances are indicated with great precision, thus providing fascinating evidence for interpretation and playing style at that time, even if simultaneously restricting modern-day artistic expression. Lastly, we have the ’Etudes de salon et solos ou caprices pour la flûte seule’ by Jean Donjon, an advocate of the new Boehm flute and therefore a representative of the transition into the new era.

In addition to the musical concerns which governed the selection of the repertoire, these works are interpreted on historical instruments. Historical fingering charts preserved in contemporary flute tutors were also instructive.

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