8 ODELETTE FOR TWO FLUTES AND PIANO CAMILLE SAINT-SAËNS (1835-1921) 06’41Arr. by Franz Rothe

Anna Stokes (1st flute)Lisa Friend (2nd flute)

9 FANTAISIE FOR FLUTE AND PIANO GEORGES HÜE (1858-1948) 06’54

Anna Stokes (flute)

DEUX INTERLUDES FOR FLUTE, VIOLIN AND PIANO JACQUES IBERT (1890-1962)Arr. by Anna Stokes & Lisa Friend for two flutes & piano

10 I ANDANTE ESPRESSIVO 03’1911 II ALLEGRO VIVO 03’53

Lisa Friend (1st flute)Anna Stokes (2nd flute)

12 ROMANCE “LE CALME” (NO.1) FROM TROIS MORCEAUX, OP.57 FOR FLUTE & PIANO JOACHIM ANDERSEN (1847-1909) 04’26

Lisa Friend (flute)

DUETTINO, OP.36 FOR TWO FLUTES & PIANO FRANZ DOPPLER revised and edited by Louis Moyse

13 ALLEGRO MODERATO - ANDANTE MODERATO / L’ISTESSO TEMPO / POCO MENO - ALLEGRO (MOLTO) 07’45

Anna Stokes (1st flute)Lisa Friend (2nd flute)

Total playing time: 66’13

MEDAILLES ANTIQUES PHILIPPE GAUBERT (1879-1941) edited by Fenwick Smith for flute, violin and pianoArr. by Lisa Friend and Anna Stokes for two flutes & piano

1 NYMPHES À LA FONTAINE - DANSES 05’032 MODÉRÉ-VIF ET RYTHMÉ 03’41

Lisa Friend (1st flute)Anna Stokes (2nd flute)

3 OBLIVION FOR TWO FLUTES AND PIANO ASTOR PIAZZOLLA (1921-1992) 03’41Original arr. for two flutes & piano by Anna Stokes / Lisa Friend & piano arr. Mark Kinkaid

Lisa Friend (1st flute)Anna Stokes (2nd flute)

ANDANTE & RONDO, OP.25 FOR TWO FLUTES AND PIANO FRANZ DOPPLER (1821-1883)4 ANDANTE 04’165 RONDO (ALLEGRETTO CON MOTO) 04’34

Anna Stokes (1st flute)Lisa Friend (2nd flute)

6 CONCERTINO FOR FLUTE & PIANO CÉCILE CHAMINADE (1857-1944) 07’53

Lisa Friend (flute)

7 CANTIQUE DE JEAN RACINE GABRIEL FAURÉ (1845-1924) 04’06Arr. by Trevor Wye for two flutes & piano

Lisa Friend (1st flute)Anna Stokes (2nd flute)

TRACK LISTING

French composers predominate in this recital of attractive music for one (or two)flutes, though they do not have the field quite to themselves.

‘His music is neo-classic, but threatened with modernism’, was the curious commentthat the critic André Coeuroy applied to Fauré’s younger contemporary PhilippeGaubert (1879-1941). Gaubert was a refined and civilized member of theimpressionist movement in France who is chiefly remembered – though he wrote inmany genres, including opera and ballet – by his compositions for the flute, his owninstrument: he became principal flautist in several of the Paris orchestras and, in1919, professor of flute at the Paris Conservatoire, where he also conducted theconcerts of the Conservatoire’s Orchestral Society. In the same year he becameprincipal conductor of the Paris Opéra, which with his other appointments placedhim at the very centre of French musical life.

Medailles Antiques, which was originally written in 1916 for flute, violin and piano,is typical of the French turn-of-the-century obsession with the mythic, Arcadianworld of ancient Greek pastoral, typified by Pierre Louÿ’s poetic cycle Chansons deBilitis and Debussy’s songs and Epigraphes Antiques that drew on those poems.Indeed Gaubert’s work seems in some places to echo Debussy’s in its vernal fragilityand freshness. The tremulous playfulness of ‘Nymphes à la fontaine’ contrasts withthe more robust rhythms – not devoid, however, of melancholy – of the concluding‘Danses’.

Astor Piazzolla (1921-1992) enshrines the intimate relations of popular and classicalin Argentinian concert music. As a bandoneon virtuoso and band-leader he becameone of the most original exponents of the tango, Latin America’s most celebrateddance; at the same time he longed to write symphonic and chamber works. Hestudied with Ginastera in Buenos Aires and Nadia Boulanger in Paris and eventually,

MUSIC FOR FLUTES AND PIANO

We have long held a wish to make a recording together and had set our hearts oncovering some of the wonderful flute repertoire for two flutes and piano, both originalworks together with arrangements formerly intended for other instrumentations. Wehave chosen our repertoire from pieces that we genuinely love, and which on apersonal note mean a tremendous amount to us.

We have had immense pleasure in recording this CD in the beautiful surroundings ofChamps Hill Music Rooms as well as working alongside a fantastic team. We hope thatyou enjoy listening to these expressive, intimate and engaging works as much as weenjoyed recording them.

Aside from our own personal repertoire choices and connections with the programmewe chose, many interesting parallels can be drawn between the composers on thisdisc. Interestingly, Ibert was a pupil of Fauré, and Fauré a student of Saint-Saëns;Fauré had great admiration for the works of Hüe, and Saint-Saëns was a close friend ofthe famous French flautist, Paul Taffanel to whom our two solo pieces by Chaminadeand Hüe were dedicated. By coincidence, both our solo pieces on this disc werecompetition/test pieces for the Paris Conservatoire final examinations. Fauré, Saint-Saëns, Chaminade, Hüe, Ibert and Piazzolla all studied or taught at the ParisConservatoire in their lifetime. Piazzolla studied in his earlier years with the Hungarianpianist Bela Wilde (a former student of Rachmaninov), and Franz Doppler (a student ofLizst) was born in Lemburg but spent the majority of his musical career in Budapest,where his love of Hungarian gypsy music blossomed. Many more connections could befound between these composers, but this is just a taster of some of the interestingparodies that can be drawn.

We would like to thank all the people instrumental in making this CD possible. Inparticular, we would like to thank Mary and David Bowerman for their unendingsupport and generosity in making this disc possible, Matthew Dilley (producer),Rodney Friend (violinist) for his invaluable support and advice, Stuart Weston(photographer), Alexander Van Ingen and to all involved at Champs Hill Records.

FOREWORD

perform together. The Andante and Rondo, Op.25, which also exists in a version forflute, violin and piano, contrasts warm-hearted lyricism in the first movement,which is almost a sublimated operatic duet, with a delightfully raffish Rondo inHungarian gypsy style. This Hungarian influence is also found in the Duettino,Op.36, which in some editions is actually entitled Duettino on a Hungarian Motive.The ‘motive’, introduced by the flutes, is a melody in the verbunkos style out ofwhich gypsy music was developed, and in three short movements Doppler rings thechanges on it in a series of variations.

Despite coming from a non-musical Parisian background, Cécile Chaminade (1857-1944) was a child-prodigy pianist and composer and – since the Paris Conservatoiredid not then admit women – studied privately with several eminent teachers,including Le Couppey (for piano), Savard (for counterpoint, harmony and fugue),Benjamin Godard (for composition) and also the violin with Martin Marsick, a pupilof Joachim. Furthermore she attained proficiency as a conductor, made her concertodebut at the age of 18, toured widely, and became a well-known public figure,eventually receiving the Légion d’Honneur. In the course of her long life Chaminadeproduced around 350 works: she was most famous for her short, lyric piano pieces,many of which became very popular, but also wrote a comic opera, a ballet, achoral symphony, chamber and orchestral music and over 100 songs. Her Concertinofor flute and piano, Op.107 (it is sometimes heard in the version for flute andorchestra), was composed in 1902 as an examination piece for flute students at theParis Conservatoire and is dedicated to the celebrated French flautist and teacherPaul Taffanel who, after a long playing career in the Paris Opéra Orchestra, servedas Professor of Flute at the Conservatoire from 1893 until his death in 1908. Withits wide-ranging, elaborate solo part, Chaminade’s highly attractive Concertino is

despite much opposition, effected a fusion of classical concert forms with the sinuousrhythm and passion of tango. Enormously prolific (over 1000 pieces!), with worksranging from concertos and orchestral suites to a multitude of dance numbers,Piazzolla was truly to the Tango what Johann Strauss II was to the Waltz.

The tango Oblivion (1982) has become one of Piazzolla’s most widely known works,partly due to its appearance on the soundtrack of Marco Bellocchio’s film Henry IV. Ithas appeared in many different arrangements, including for klezmer clarinet,saxophone quartet, and orchestra – and on the present CD for two flutes and piano.The piece’s extreme melodic melancholy is underpinned by a harmonic scheme ofunobtrusive sophistication.

The flautist, composer and conductor Franz Doppler(1821-1883) was born a citizen ofthe Austrian Empire in Lemberg – the city later known as Lwów in Poland that is nowLviv in the Ukraine. Taught by his father, whose instrument was the oboe, he made hisdebut as a flautist at the age of 13. His younger brother Karl was also a flautist andthey formed a duo, performing to great acclaim throughout Europe. They both becamemembers of the orchestra of the German Theatre, Budapest, in 1838 (at the age of 18,Franz was first flute there) and they moved in 1841 to the Hungarian National Theatrewhere five of Doppler’s operas were eventually staged. The brothers helped to foundthe Hungarian Philharmonic Orchestra in 1853. Later Franz moved to Vienna,becoming first flute at the Vienna Court Opera, and eventually becoming its chiefconductor. He was also Professor of Flute at the Vienna Conservatoire 1864-67.

Doppler wrote seven operas and many ballets, and was acknowledged as a brilliantorchestrator (he made the orchestral versions of six of Liszt’s Hungarian Rhapsodies);but he is chiefly renowned for his flute compositions. Many of Doppler’s works for twoflutes (which include a concerto) were presumably originally written for he and Karl to

cantata Médée. He wrote a number of operas and ballets which were highlysuccessful in their time, including Titania, an impressionistic piece loosely based onShakespeare’s A Midsummer Night’s Dream, and Siang-Sin (1924) a ballet-pantomimecreated for a Chinese Spring Festival (Hüe travelled extensively in the Far East). Hewrote in many other genres – his choral music is admired – but it is mainly hiscompositions for flute that have retained a place in the repertoire.

Like Chaminade’s Concertino, Hüe’s Fantaisie (1913) began life as a competitionpiece for the Paris Conservatoire; Hüe dedicated it to the great French flute teacherAdolphe Hennebains and later made a version with orchestra. This ravishing workshows a distinct influence of Debussian impressionism. The hieratic, incantatoryopening section, Assez lent, featuring intricate roulades from the flute, leads into ameltingly beautiful main melody, Modéré. After a return of the introductory musicthe piece moves into a skittish, vivacious dance, building to an ending of greatbravura and rhythmic impetus.

Jacques Ibert (1890-1962) was a pupil of Gabriel Fauré and André Gedalge at theParis Conservatoire, and spent a large part of his career in Rome as an officer of theAcadémie de France at the Villa Medici. Though he came from a wealthy merchantfamily he had to support himself in his musical career, and did so by working as anaccompanist at the Paris Opéra, by composing light music of various kinds, and byplaying piano in the cinema. He was a prolific and adaptable composer whoseoutput includes many types of music, though he is still probably best-known for hiscomparatively vulgar Divertissement based upon his incidental music to Labiche’splay The Italian Straw Hat. In fact he was a master of many styles, poised betweenimpressionism and neo-classicism on the one hand, and on the other between a

certainly an effective test of the flautist’s skill. After a moderately paced andgraceful opening section, there is a more animated (and agitated) central sectionbefore a cadenza for the flute introduces a reprise of the opening melody.

In its original form Gabriel Fauré’s (1845-1924) Cantique de Jean Racine, Op.11, isa work for mixed chorus and piano, or organ. He wrote it in 1864-5 at the age of19, and it won him the first prize when he graduated from the École Niedermeyer,where he had been studying. There were subsequent arrangements with anaccompaniment of string orchestra or for full orchestra. The text is a paraphrase bythe famous 17th-century tragedian Jean Racine of the Latin hymn ‘Consors paterniluminis’, used for Tuesday matins. Such a choice accorded well with Fauré’spredilection for old church music, especially those involving the Gregorian modes,and the restrained melodic charm of the piece is given new life in the presentarrangement for two flutes.

Saint-Saëns’ (1835-1921) Odelette in D major, Op.162, for flute and piano (ororchestra) dates from 1920 and is thus is a very late work, one of a number ofwoodwind works composed by this veteran composer shortly before his death in1921. (He had planned to write a flute sonata, and he did achieve sonatas forclarinet, oboe and bassoon.) In style, however, it could be a piece of the 1850s.The title means ‘little ode’ or ‘little song’, and it was a popular name for girl babiesin the 19th century. It is clear that in this piece, with its discreet curlicues ofornamentation, Saint-Saëns displays his interest in the music of Islamic countries,producing a graceful, elegant work with occasional hints at oriental mode.

Born at Versailles into a family of architects, Georges Hüe (1858-1948) studied withGounod and César Franck, and in 1879 won the coveted Prix de Rome with his

profoundly French sensibility and a much more cosmopolitan taste. As he oncedeclared, ‘What I like to do is what others do not … I avoid every theoreticalscheme of which I might become a slave and write only according to the demandsof my own sensitivity’.

In 1946 he composed the Deux Interludes, originally for flute, viola (or violin) andharp (or piano, or harpsichord) and clearly influenced by Debussy’s late Sonata forflute, viola and harp. While the first movement, Andante espressivo, is a gravelyrical meditation with a somewhat courtly, Baroque air, the brilliant, dance-likesecond movement (Allegro vivo) has a distinct Spanish flavour, as do several ofIbert’s other works, contrasting joyous energy with smouldering romantic passion.

The Danish flute virtuoso and conductor Carl Joachim Andersen (1847-1909) wasborn and died in Copenhagen, where from 1894 until his death he was conductor ofthe popular Sunday Palace Concerts and the concerts at Tivoli Gardens. Before thenhe had played in the orchestra of the St Petersburg Opera and in 1882 was a co-founder of the Berlin Philharmonic Orchestra. He was obliged to give up playingand concentrate on conducting owing to paralysis of the tongue. Andersen wrote agreat many flute works as well as eight volumes of études for his instrument whichare still in use. The Trois Morceaux (Three Pieces), Op.57, were dedicated to hissister, and the first of these, a romance in E flat entitled Le Calme, is still in therepertoire of many players. Despite its title the piece gets quite animated as thelong-breathed opening melody, accompanied by rippling piano arpeggios thatpersist almost throughout, is worked up to a central climax and then graduallyrelaxes to a peaceful close.

Malcolm MacDonald

Anna, Lisa and Mark in the studio with producer Matthew Dilley

She has given workshops in the UK,Hong Kong and Qatar and assists onthe annual ‘Lisa Friend London FluteSummer Masterclass’. Anna wasawarded a scholarship to the PurcellSchool of Music where she studiedwith Anna Pope. She wasconsequently awarded a FoundationScholarship to the Royal College ofMusic where she studied flute withSusan Milan and Stewart McLlwham,graduating in 2004 with First ClassHonours. Anna was selected toparticipate in the Sir James GalwayInternational Masterclass, Switzerland2006-2008. She has receivedcoaching from flautists including PaulEdmund Davies, Celia Chambers,Michael Cox, the late Sebastian Belland composers, the late NicholasMaw and Jindrich Feld. Anna plays ona silver Powell Flute.

Anna is grateful for the kind supportfrom the David and Mary BowermanCharitable Trust.

www.annastokes.comwww.emanuelensemble.co.ukwww.facebook.com/annastokesflute

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BIOGRAPHIES

Anna Stokes has worked with numerous orchestras including theLondon Philharmonic Orchestra, Royal Scottish National Orchestra,BBC Concert Orchestra, London Concert Orchestra, Northern Sinfonia,Bournemouth Symphony Orchestra, Brandenburg Sinfonia, ArtsSymphonic, National Theatre Orchestra (‘Light Princess’ by Tori Amos)and session work for EMI, Universal, Deutsche Grammophon, Deccaand Mercury. She has also toured the UK extensively with singersRussell Watson and Aled Jones.

She founded the Emanuel Ensemble in 2001 and they have since goneon to perform in recitals at the Purcell Room, Wigmore Hall, CadoganHall, National Gallery, V & A Museum, Conway Hall, LeedsInternational Festival, Schubert Society of Britain, Leighton House,Villa D’Este, Lake Como and various UK concert societies. Annarecorded her debut CD with the Emanuel Ensemble (John Reid, pianistand Louisa Tuck, cello) for Champs Hill Records (released in 2011).She has also performed in a number of duo recitals with flautist LisaFriend. As a soloist, she has given flute / piano duo performances forthe Qatar Foundation in Doha, at the Beethovenhaus in Bonn, theCheltenham International Festival and UK concert societies. Anna hasalso performed concertos and solo works by Bach, Chaminade, Mozart,Quantz, Reinecke and Rouse.

Awards include the Marc Rich Scholarship for Artistic Achievement, SirJames Galway International Masterclass ‘Gold Nagahara HeadjointAward’ for ‘Best Performer’ 2007, David Bowerman Charitable TrustSponsorship, Haynes International Flute Competition Prize Winner(USA, 2007), LPO Future Firsts (2006-2007), Solti Foundation Award,EMI Sound Foundation Award and a Brannen-Cooper Flute awarded toher from the Foundation for Sport and the Arts.

Royal Family at Buckingham Palace as soloist with the late YehudiMenuhin, soloist for the ‘Cinematic Classics’ series at the LG ArtsCenter-Korea, a performance in the Britten Theatre with the late SirGeorge Solti, and performing alongside Liza Minnelli in aid of the WhiteRose Ball Holocaust Trust Fundraiser. Live television appearances haveincluded Brandenburg Concerto No.5 in Spain with her father theinternational violinist Rodney Friend. She has also given recitals forMiddlesbrough Concert Series, St James’, Piccadilly, Leighton House,Stoke Park, an evening showcase at The Forge, St George’s Hall-Bradford Evening Recital Series and Derby Live Classical Seasonamongst numerous other performances.

After signing a deal with Universal Publishing, Lisa wrote originalarrangements for her trio based on some of the great film scores aswell as her own compositions, performing at venues such as St Martin-in-the-Fields, St. John’s, Smith Square, and the British Embassy inParis. As a soloist, Lisa recorded Ennio Morricone’s Once upon a time inAmerica for Silver Screen Records with the Prague Philharmonic. Shehas recorded a debut solo CD of romantic works entitled Deep in mysoul under the Signum Classics label. She has also featured on arecording for Malcolm Martineau and friends of songs by Poulenc withSignum Classics.

She has given masterclasses in Korea and the UK, and runs an annualinternational flute masterclass in London.

Lisa is an Ambassador of the Princes Trust and is delighted to beworking alongside and supporting such a worthy cause. She plays on aVerne Powell gold flute.

www.lisafriend.com www.lisafriendclass.com www.facebook.com/lisafriendflute

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British flautist Lisa Friendcommenced her studies in New Yorkwith flautist Renee Siebert of theNew York Philharmonic. She wasthen awarded a flute scholarship tostudy with Julius Baker at hissummer school in Connecticut. At17, Lisa gained a scholarship tothe Royal College of Music whereshe studied with Susan Milan.Having won the Martin MusicScholarship twice enabled Lisa tostudy at the Paris Conservatoirewith Alain Marion and Ida Ribera.

As a soloist, Lisa has appearedwith the Philharmonia Orchestra,Prague Philharmonic, VirtuosiPragenses Chamber Orchestra, RoyalLiverpool Philharmonic Orchestra,and has toured throughout the UK,France, Germany, Japan, Korea,China and the USA. Notable soloappearances include a performancefor Steven Spielberg after writingand performing a track for hisfoundation SHOAH, BBC ChildLine,House of Commons, soloist for theBill Kenwright production – Music2000, live recitals for Classic FMand Radio 3, a concert for the

Produced & Engineered by Matthew DilleyEdited & Mastered by Matthew DilleyRecorded on 17th–19th June 2013 in the Music Room, Champs Hill, West Sussex, UK

Cover and tray images by Stuart WestonExecutive Producer for Champs Hill Records: Alexander Van Ingen Label Manager for Champs Hill Records: John Dickinson

As a freelance accompanist, Mark Kinkaid has worked for the Royal College ofMusic, Royal Academy of Music, Guildhall School of Music and Drama, BBCSymphony Orchestra and Pegasus Opera. He has accompanied the BasingstokeChoral Society since 1976 and was appointed Assistant Musical Director in 1997.In 2010-2012, he was the accompanist for the Lisa Friend London Flute SummerMasterclass. In 2012-2013, he was an official accompanist on the CambridgeInternational String Academy Course.

He has also been a repetiteur for Opera South (Manon) as well as completing aseason with Opera Integra. Mark was the official accompanist on the Torroella deMontgri Summer Course in Spain (1992-1993), accompanist in Janacek CunningLittle Vixen (2007) and musical director in four performances of HumperdinckHansel and Gretel (2008) for ‘Music at Woodhouse’, Surrey.

Mark regularly collaborates with soloflautist Lisa Friend. Together, they havebroadcast a live duo recital on Classic FM,performed at the ‘White Rose Ball’Holocaust Fundraiser alongside artist LizaMinnelli and recorded a CD of romanticworks on the Signum Records. Mark hasalso performed various works withorchestra and played at the Purcell Roomwith flautist James Dutton as part of thePark Lane Group Recitals.

He teaches at Abercorn School, London,Queen Mary’s College, Basingstoke, and ispianist in residence at London’sprestigious Centre for Young Musicians. ph

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An exploration of rarely heard songs byLudwig Thuille (including his threewinsome trios), with some of the finestyoung voices in the UK – Sophie Bevan,Jennifer Johnston and Mary Bevan –accompanied by the first-rate JosephMiddleton.“The crème de la crème of young British-based musical talent” The Daily Telegraph

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LUDWIG THUILLE SONGS

The Emanuel Ensemble – a flexible chambergroup – here presents an enticing recitalprogramme for flute, ‘cello & piano, showcasingthe undoubted talents of acclaimed youngplayers Louisa Tuck, Anna Stokes and John Reid.

NIKOLAI KAPUSTIN Trio Op.86PHILIPPE GAUBERT Pièce RomantiqueROBERT SCHUMANN Adagio and Allegro in A flat major Op.70FRANÇOIS BORNE Fantaisie Brillante sur CarmenLOUISE FARRENC Trio Op.45ASTOR PIAZZOLLA La Muerte del Ángel

MusicWeb International CD of the month Feb 2012

“ …this is such an exceptionally fine young ensemble, and such a marvel of a program, that I can’t possibly hold back from the highest recommendation” Brian Reinhart

“An outstanding CD ...” Sir James Galway

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EMANUEL ENSEMBLE

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