Notes Music of the twentieth century seems to be one of exploration and experimentation of sound and technique. Composers of this time period examined new musical languages particular to each Instrument (or voice), some even rejecting the tonal language all together, and others expanding upon the boundaries of traditional tonality.
Then there were also those that looked at experimentation of new sounds, new ways of structuring pieces, as well as influences stretching across story (time and location) to both work and manipulate with traditional form or against the musical tradition of their predecessors. However. There were some composers who did not dive into the new found techniques instruments were finding to be capable of. Instead of partaking in the new norm of the twentieth century, some composers traversed impressionistic styles to generate emotions from the audiences as well as explore the realms of the newly risen popularity In improvisation and the jazz idea.
Such a magnificent composer of these styles of twentieth – century music was Henry Dilute, a Frenchman born on January 22, 916. In a composition for flute and piano, Henry Dilute combined elements of Impressionism, Inspired by leading composer Claude Debussy, and Jazz to create a significant piece of the century, assonant. Henry Dilute was born and raised in the music world. His parents even sent him too local French conservatory tat young age.
During secondary school, at the age of 17, he transferred and then attended the Paris Conservatory from 1 933 to 1 938, studying with, among others, Phillip Eggbeater, famous flutist and conductor of the Paris Opera. At the end of his time at the Paris Conservatory, he went on to win he prestigious PRI De Rome in 1938 at the age of 22 and since then enjoyed a variety of high profile positions, including professorship of composition at the Paris Conservatory. However. Deluxe has publicly announced his dislike for most of his early compositions, the exception being the flute and piano Sensation.
As doctorate John Rank surmises, “[Dilute] thinks they were written before he had fully formed his compositional voice. It is true that his later works are much denser and darker, but aspects of his music he himself has described as, ‘avoidance of prefabricated aroma scaffolding, a penchant towards a certain type of sonority (with priority given to the Joy of sound. ” Even with that being said, it can also be believed that Dilute did not give his early compositional works much credit, for in the flute world his Sensation Is considered one of the more challenging and picturesque pieces of the flute repertoire.
The Sensation was composed in a prefabricated frame of time in 1942 as a 1 OFF even performed by at the premier in 1944 by Professor Gaston Crucible. These test pieces were presented to the faculty and other members of the Paris Conservatory as a test piece to graduate. The Sensation highlights Dullness’s early style where his ties at the time to impressionism were so evident. Enjoyed by flute players everywhere, the Sensation indeed shows the influence of Debussy, particularly in the melodic, haunting to sweet first section.
The piece should be played with a sense of motion and imagery that conveys a pastoral-like notion. The Sensation outlines a traditional three-movement structure into one complete movement. Each of the three impressionism sections is divided by cadenza-like passages for the flute. These cadenzas can be approached and portrayed in a Jazz improvisational sense. For each cadenza begins with crescendo and accelerating scale formatted runs. The meters present could separate the “three” sections of the one movement piece.
The opening section in 7/8 time, followed by a slow and lyrical passage of 4/4 – 3/4 which in turn is followed by the third and final closing section in a lively and sprightly 2/4 meter. With that in mind, it seems compositionally Dilute transitions from a compound meter to a duple meter to create a fluid connection between the seemingly different sections of the piece. Each of the three sections seems to be based upon traditional models. The first section marked “Allegretto’ is based on sonata form where the cadenza at the end serves as the transition into the “Andante”, in a new key and meter.
Stylistically as the end of the second section gradually increases in dynamic volume and speed to an “Minimize outsource”, featuring the dotted rhythm that had originally appeared in the first cadenza. When the flute suddenly comes too sudden halt, the piano is left to begin the concluding “Anima©”. This is a lively section, again seemingly based upon a sonata form, and again featuring a famous flute cadenza. This cadenza is unique and mess to transcend the piece; this is where hints of Jazz can prominently be detected.
After the ABA major scale with a raised 5th flourish up too high fermata B#, it descends in an accelerated molt in a uniquely set up twelve – tone pattern; which could be grouped into four segments that gradually crescendos into a low g#. Followed after this extravagant phenomenon is a series of rise and fall chords. A flute player can approach each chord as if he or she is dabbing at Jazz. Jazz improvisation plays around fundamental chords presented in a piece. This “trees libber” segment allows for a player to experiment and play with the repatriated chords, so as to interpret the speed and direction of each at their own discretion.
And as this builds to a height it leads into an ever accelerating pee a pee motion outlining a simple “improvised” melody of E – D- Be -G#- A#- B- F -G- G# with a fermata on a low c# trill. Here the final transition exists too dramatic winding down of meter and dynamic from a fortissimo to a pianissimo. With a seemingly endless transitional breath, this cadenza leads into a coda, which begins “mysteries”, but gathers momentum and volume until the very end, generating a powerful impression.
