─ 麗莎．弗蘭德／長笛
─ 羅韓‧德-希爾瓦／鋼琴

長笛在在十九世紀末期到二十世紀初在法國音樂中佔有獨特的地位, 加上許多的寫給長笛的原著曲目, 因此有大量的作品被改編成長笛和鋼琴版本. 在這專輯中, 長笛音樂家麗莎．弗蘭德和鋼琴家羅韓·德-希爾瓦探索長笛和鋼琴精緻的曲目.

佛瑞在1875到76年之間寫的第一件小提琴奏鳴曲因其清脆的旋律和缺少雙音(double-stopping), 因此是非常適合改編的作品, 尤其是在第三樂章的快速音階句(scale passages).

德布西(牧神的午後)序曲來自於法國詩人馬拉美(Stephane Mallarme)的一首詩, 被白遼士和大眾公認為是現代音樂的起源. 也被拉威爾選擇此曲在他的葬禮演奏. 管絃樂原始版本以最著名的長笛獨奏做開頭, 非常適合這改編版的專輯.

The flute takes a very special place in French music, particularly so in the late nineteenth and early twentieth centuries. As a result (and in addition to a great deal of original repertoire for the instrument) there is a significant body of work transcribed for flute and piano, which Lisa Friend and Rohan De Silva explore in this exquisite programme.

Faure’s first Violin Sonata, composed in 1875 – 76 works particularly well in transcription, with its sweeping melodies and lack of double-stopping. The rapid scale passages in the third movement are especially effective.

Debussy’s Prelude a l’apres-midi d’un faune, based on a poem by Stephane Mallarme, is regarded by many (including Boulez) as the birthplace of modern music, Ravel choosing it to be played at his funeral. The original orchestral version opens with one of the best-known flute solos in the repertoire, making this transcription particularly appropriate.