Eclipse... the title of the featured work by Alain Louvier, this could just as easily describe the history of literature for flute, violin, viola and 'cello as it now comes out from the shadows, almost two centuries after its first golden age. Ask musidans and music-lovers about quarlets for flute and strings, and virtually the only name to spring te mind will be Mozart! Indeed, his masterpieces were - and still are - the mainstay of many concert programmes. While no-one would deny they raise this formation to the level it deserves, it is equal [y true that they are but one part 0 w at was an already vast répertoire. The popularity of the flute and the growing ranks of amateur flautists during the Classical era inspired an abundance of composers - J. Haydn, J.C. Bach, G.B. Viotti, 1. Pleyel, P. Vranitzky, F. Krommer, not to mention flautists such as F. Devienne or F.A. Hoffmeister - who gave the flute and strings quartet a

wealth of fine material. Over the past twenty years, many such compositions have been brought back into the spotlight by recordings.

The nineteenth century, in contrast, offered only very limited scope to this formation. Virtuosos preferred instead major concertos, fantasias or variations, while chamber music with flute was dominated by pianists such as J.N. Hummel, 1. Moscheles or C. Czerny. Certain exceptions nevertheless confirmed the rule. In Italy, S. Mercadante devoted a wellfilled catalogue of pieces to the flute, including four brilliant quartets. In Germany, flutists such as K. Kummer, W. Gabrielsky and A.B. Fürstenau produced several pieces, al] fired by their heroic tempérament. However, as pleasing and as well-written as they were, ail these works were in reality examples of pure virtuosity, veritable "mini concertos" for the flute that gave the strings littie possibility for expression.

one could have been forgiven for thinking that the flute's musical emancipation in the early twentieth century, the development of a modern instrumental school and its incorporation into the major musical currents of that time would have changed the situation. Not at all. New instrumental combinations such as quintets for harp, flute and string trio stole the spotlight. Composers explored a huge diversity of colours: Sonata for flute, viola and harp by C. Debussy, Trio for flute, viola and 'cello by A. Roussel, Quartet for flute, violin, clarinet and harp by G. Migot, Suite for flute, violin, viola and piano quartet by C. Koechlin, and so on. The quartet for flute and strings was sadly neglected during the first half of the century. Finding an objective or irréfutable expianation for this is no easy task. it is probable, however, that such compositions have always suffered from the underlying notion that the flute is the solo instrument that the strings merely accompany. Classic concertante (in the strictest sense of the term) quartets are rare. The only unes to have attempted to break free from the habituai schema are those of Anton Reicha, who in his Op. 98 in the early 181 Os clearly stated that these were 'genuine Quartets, not Sonatas or Solos for flute accompanied by violin, viola and bass, for there is no shortage of that type of composition.' Note that these works, along with concertos for flute, in particular with chamber orchestra, resurfaced after the second worid war while the flute itself, under the impetus of musicians such as M. Moyse, J.P. Rampal and A. Nicolet, was once again recognised as an outstanding solo instru

ment. Could it be that until then composers had decided there were "enough" quartets with flute, given their nature and demand from musicians? The answer almost certainly lies in the forms of expression demanded by each major musical current, as much as in the délicate balance that the quartet for flute and strings must strike between chamber music and concerted music. in that respect its recent history, illustrated here by the Ensemble Hélios, is significant.

This recording opens with a work by Volkmar Andreae, written in 1945. Aithough this composer's name is much less familiar than that of Frank Martin or Arthur Honegger, he was nevertheless one of the leading figures in the world of Swiss music during the first half of the twentieth century. Born in 1879, he studied music with Karl Munzinger in Bern, then with Franz Wüllner al the Conservatory in Cologne. Having worked as chorus master at the Royal Opera in Munich, he went on to become choir master in Winterthur and then Zurich, where he was to spend most of his career. It was here that he led the Tonhalle Orchestra, from 1906 to 1949, as well as directing the Conservatory from 1914 to 1934. In his role as a conductor he was an enthusiastic proponent of Bruckner, Strauss, Mahler (who even saw in him his possible successor at the head of the New York Philharmonic!), but also Stravinsky and Debussy. Open to influences from all quarters, he actively encouraged musical creation in his country. From 1920 to 1925 he presided the Association of Swiss Musicians. On his death in 1962 he

left various works for orchestra, stage music and two opéras, as well as lieder and several pieces of chamber music.

Volkmar Andreae was fully aware of the exceptional talent shown by certain members of his orchestra. As a token of his friendship and admiration, he dedicated his Divertimento' Op. 43 to flautist André Jaunet, who frequently performed with his harpsichordist son. Interestingly, u nlike the rest of his compositions which willingly drew on German postRomantic inspirations, the featured quartet owes more tc, a distinctively French style. Relatively freely structured in its links and movements urepeating the introduction in the final Molto Vivace), it is as lively as it is expressive, and not without a cash of humour. These characteristics should also be seen in the light of purey instrumental factors: the influence in Switzerland of the French flute school in the person of André Jaunet, a student of Philippe Gaubert then Marcel M.oyse, and later of his pupils and successors such as Aurèle Nicolet, PeterLukas Graf and Gunter Rumpel planted the seed from which a vast Sw'.ss flute répertoire was to blossom. Andreae's quartet was among the earliest examples of this creative explosion and is a superb illustration of the French qualities of articulation, virtuosity and colour. Written in a traditional and tonal language, it draws on the classical legacy by giving the flute a highly demonstrative solo part, supported by vertical and homogenous parts for the string trio. Indeed, certain performances of this quartet ~ave been given with a chamber orchestra, by tripling or quadrupling the

accompanying parts. Its atmosphere, sometimes mysterious, sometimes playful, sometimes brilliant, heralds the style that was to dominate compositions for flute over the next thirty years. Listeners should note a specific expression in the Molto Lento section which, despite an urineniable "turn of the century" feel, typical even of compétition pieces, bears a fleeting resemblance tc, Khachaturian. As for the central section of the Adagio, Jolivet briefly springs tu, mind!

Arrnin Kaufmann, an Austrian musician of Rumaman descent, was born in Neu-Itzkany ~province of Bucovine) in 1902. In 1914 his family moved te Vienna, where he studied music theory with Joseph Marx. Viola player with the Vienna Symphony Orchestra for almost thirty years (1938 tc, 1966), he died in 1980. He will be remembered for a catalogue of over a hundred works, in particular instrumental compositions. These include four symphonies, a piano concerto and various pieces of chamber music including a Quintet for piano, violin, viola, 'cello and bass, and seven string quartets. He gave the flute several pieces with piano or guitar, a Trio with viola and harp, another with violin and piano and a double concerto for flute, piano and orchestra.

The work on this recording is an adaptation by Kaufmann himself of his fourth string quartet (Op. 1/~. Written in 1931, it was only published by Doblinger in 1967. Kaufmann wrote this version, published in 19732, at the request of renowned flautist Camillo Wanausek3. The tact this work 12

was originally intended for strings explains its

unusual density and, by adding a certain rugged

ness, its deeper colour. in the first and third

movements in particular al] four instruments

contribute to the construction of the music, often

in a close-knit dialogue and deliberately moving

atmospheres. The initial Allegro pensoso, for

example, after a somewhat dramatic introduction,

draws on a multitude of melodic, rhythmic and

dynamic contrasts, juxtaposing and superposing

the main ideas. A similar combination of themes

emerges in the délicate Roman(e, interrupted by

a livelier, tighter passage that is typical of Slav

music and reminiscent of Dvorak's second 'cello

concerto. Here, as in several other of his compo

sitions such as a Trio for violin, cithara and guitar

or a concerto t 1 or tarogato and orchestra, Kauf

marin illustrates his attachment to his Rumanian

origins: the themes of the Frotoloso and the final

Furioso clearly look to Rumanian folk music and

dance, offering an idéal role tc, the flute within a

perfectly balanced and expressive whole.

The following three pages were written especially for the Ensemble Hélios and are t bc ideai velhicle for such a formation in contemporary music. Labyrinthe by Rui Martins, a Portuguese guitarist and composer born in 19.58, was first performed in public by its dedicatees on January 181il, 1997 in Paris. It is an extremely ingenious composition and at the same time a genuine challenge for the musicians, all of whom contribute equally to the whole. Martins, aiready wellknown for his numerous pedagogical composi

tions (he also teaches), several of which are for flute, uses his natural and refined talent for this astonishing concert piece. The astute style is matched by the playful underlying image. The firsi, rapid section symbolises disorientation and flight through ifs highly rhythmic style (15/8), divided into a number of repeated "impulsions" and largely inspired by minimalism: 'full of hope and energy, we look for a way out but constantly find ourselves back where we started,` In the slow passage these ostinati give way to a subtle interlocking of prolonged passages that lull the listener into a false sense of rhythmic freedom. Martins describes this passage as "an instant of tranquillity and contentnient even in a moment of sbeer desperation'. We could just as casily imagine ourselves somewhere under the burning Portuguese sain, trying in vain to find our way out of a warren of unfamiliar streets and passages. The final movement, also characierised by its strong rhythm (8/8), shares a number of characteristics with the first but with the addition of several unexpected hésitations. In a frantic cash we are led to what we think will be a way out, only Io discover it is blocked. The final harmony leaves us as much with a sensation of ceiiverance as of uncertainty.

The composition by Alain Louvier is also a descriptive piece but of a completely different kind. It evokes the last total eclipse of the sun to take place in the twentieth century, observed on August 11 1~1 1999. Born in 1945, Alain Louvier is one of contemporary music's most brilliant figures and barely needs introducing. Let us sim 3

ply note that he oriented his studies towards

mathernatics, at the same time obtaining nine

Premiers Prix at the Paris Conservatory, where he

was a pupil of Olivier Messiaen and Manuel

Rosenthal in particular. His talent bas earned him

several honours: a Premier Grand Prix in Rome

in 1968, the Prix Honegger in 1975 and the Prix

Georges Enesco, awarded by the SACFM in

1986. He aiso demonstrates exceptional pedago

gical qualities: Director of the Conserva loire

National Supérieur de Musique in Paris from

1986 te, 1991, where bc created two new depart

ments (pedagogy and sound-related professions),

he now teaches musical analysis there. in addi

tion to teaching orchestration at the Conservatoi

re Supérieur de Paris-CNR, he bas almost thirty

years' conducting experience, with numerous

creations to his name. His compositions 1 . or flute

deliL~,rately explore original combinations of

sounds. Take for example his magnificent Chant

des Aires for flute and flute orchestra, or Pay

sages for flute, blue harp and percussion, This

does not distract him from traditional formations,

using his immense talent and perfect knowledge

of the instruments to revitalise the genre and style

with works such as Carrés for four flutes, Envois

d'écailles for flute, viola and harp or Eclipse, this

recording's featured work for flute, violin, viola

and 'cello.

It represents "a study of the disappearance, the absence and the retum of light, essential to lire and to the reading of a musical score, Alter severai short and contrasting pieces, light siow/y vanisbes. The music can only survive via a return

to our ancestral and m agical origins, when our forebears in the darkness of their caves played flutes carved from bone... the 'obscurity of the eclipse' lasts for two minutes and twenty-four seconds, the exact length of the astronomical phenomenon. The anguish caused by such totality, when the beartbeat, unrelenting, counts each passi . ng second. Mans ancestral fear of the eclipse - still recently observed among primitive populations - and the terror it spreads among animais.. ~ is replaced by the immense joy felt by ail living beings when light returns, and with il writing, rapid dialogue and rhythmic jubilation that releases us from "primitive' musics hold.' And so this work aiso presents a very visual dimension which, for obvious reasons, cannot be reproduced here. And yet the musical character of each of the final three parts (disappearance, absence and retum of light) is such that the listener will have no trouble letting his or her imagination wander. The moment when darkness begins to fail is symbolised by the marvellous musical effects produced by the bass flute - pizzicati, key noises and tongue-rams - that imitate the tread and cries of prehistoric animais. The bass flute and the flute in C are joined by the piccolo, which represents light in the brief introductory passages and the final episode. Thanks to the presence of these three instruments, the use of quarter tones and the superbly varied parts for the strings, Louvier develops in this piece a colourful art whose images, each detail of which bas been given the closest attention, can but seduce the listener. It also illustrates his love of "codes": by

extrapolating the Gerrnan musical alphabet down to the twentyfour quarter tones, Alain Louvier reinvents a language which he uses to transliterate the word "Hélios", which naturally becomes his main theme (see p. 9), but also the performers' names and other rhymes and phrases. Eclipse was created by the Ensemble Hélios at the "Aujourd'Hui Musiques" Festival in Perpignan, on November 291h, 1999.

<, 1 want to be a composer with unlimited choices, ideas and inspirations... How lucky 1 am not to have endured, for hours and years on end, the long-dead spirits of Frances great creative establishments, for 1 can more easily respect my desires and wishes, without having to seek the sometimes terrible judgement of a master... Circumstances! Nowhere in any revered Parisian music school bas a wooden chair been worn smooth by the repeated presence of my backside! An autodidact, one might say? No! For 1 have diligently read and re-read ail the musical scores that ail the libraries worthy of this name could provide... surely that is an education in itself.. not tu mention the endiess audition of works front the repertoire! » These words by Jean-René CombesDamiens (born in 1957) go a long way towards describing his character. Having studied piano, he worked with Patrice Sciortino, ~< with whom 1 was able to experience the teaching 1 earlier chat lenged and who, without realising, convinced me il was not for me », and is now a composer with a distinctive personal style. He completed his quartet, ... Son Ombre, in 1998. First performed by the

Ensemble Hélios on February 151h~ 1999 as part of the National Society cycle of concerts, it was inspired by a poem by Samuel Beckett4

As he explains, <, the name of the work as well as signing the score, distinguishing il with a fille, aiso invites the fistener to penetrate the atmosphere of the music he is about to bear... Such is the strength ofa titie, hence the attention 1 pay when choosing what will bc the description of my different scores... True, in this case il was an easy task!... The shadow is the central character of the play, as though il were a reai person, a sort of alter ego of this 'him", this unknown person that Beckett bas invented... This is no doubt why at the end of the work 1 wanted the musicians to become actresses to express these few words in the most intelligible way possible ( ... ). This is not some sort of musical drama, simply an additional way to clearly express what tons throughout the work... 1 feel this composition would lose some of its meaning if the voice, an instrument in ils own right, did not lend itseif to the dramatic aspect of the work! Resides this anecdolai aspect, the music weaves in and out of the words, not describing thern but rather reffecting

in their own way - in my own way! - the emotions they can arouse in each of us. The airn is to evoke what cannot bc evoked, but certainly not to describe! »

Each word is aiso the title of one of the six parts of the composition. Here, the shadow is the flute which cominates the score with its haunting and disconcerting presence. in what appears to bc pure improvisation, it "takes form' through its increasing boldness, and also thanks to the texture that is gradually huilt up by the 'cello, the viola and finally the violin. The strings are the night. The shadow's sudden appearance is as unexpected as it is striking. After a moment's luil, the tourth part ("lengthened") opens into a lighter Presto movement on the piccolo. The shadow grows paie as the initial atmosphere seems to return. T~e flute in G brings yet another colour to the piece. The growing stiliness comb'.nes with the voices and the subile dynamics te help the piece dissolve. The modal construction, the mysterious atmosphere ofthe intervais ., the musical theme, the contemporary p'laying sL~Ies and the use of different flutes all contribute to making this a superb example of musical poetry, suffused with a sensitivity that is as intense as it is fragile.

Thes.- last two works are striking illustrations of the vast potential of the flute and strings combinatien in contemporary music. Modern playing techniques and writing styles give this formation a revolutionary scope for expression, vvhile it gives music today a new blend of concertante and

chamber music. Add to this the public's continued enthusiasm for the Andreae or Kaufmann quartets, and the humour of Rui Martins, and it is immediately apparent that the Ensemble Hélios bas risen to the challenge : the quartet with flute can embark open its second golden age.

La Traversière French Flute Association january 2001