Danses concertantes
Deuxième concerto pour flûte et orchestre
Danses concertantes is my second concerto for flute and orchestra. It can be seen as a suite of dances in seven movements, as follows: four fast movements framing three slower ones (a theme followed by two variations).
I wanted the music to be very dynamic and virtuosic, to let the very essence of dance shine through everywhere, even in the slow movements. Unlike my first concerto, Danses concertantes is orchestrated for a typical Mozart orchestra – with the addition of a percussionist: a choice that influenced mycompositional approach and made me favor bright colors and transparent textures.
Read moreDetails
| Instrument family | Flute |
| Catalog classifications | Flute and orchestra or ensemble |
| Instrument nomenclature | flûte et orchestre (2.2.2.2, 2.2.0.0, Timb, Perc, cordes) |
| Total duration | 00:22:30 |
| Publisher | Éditions Billaudot |
| Cotage | GB10699 |
| Languages | French, English |
| Cycle / Level | concert |
Description
The first dance opens vigorously, unfolding an ample ten-measure theme in C major. The straightforward, sunny theme will develop over a steady beat throughout the movement.
The second dance introduces a joyful, youthful theme that will undergo transformations in the other slow movements. Its first occurrence in the high register of the flute, over a rhythmic ostinato and a pedal note, has the purity of a vocal line.
The third dance, a scherzo in 6/8 meter, is a study in lightness. In the middle of the movement, in what could be seen as a trio, a pianissimo passage bears the indication ‘velvet-like’, before the repeat of the scherzo.
The fourth dance - Tango macabre - brings about a real change of character. After a short, slow introduction, a restless, dramatic Tango begins as a variation on the theme of the second dance. The tempo gradually increases and tension rises until the final climax in the high register of the flute.
Towards the end, the rhythmic structure seems to fall apart, whittled away by rests. The movement ends with an enigmatic coda.
The fifth dance is an eleven-beat pattern dance. After a furioso orchestral introduction (reoccurring later as the coda), the flute launches the rhythmic ostinato. In the middle section, the strings play a very lyrical theme over the same rhythmic structure.
The sixth movement explores the low register of the flute and its soft, gentle, warm tone. It is a variation on the theme of the second movement with yet another change of character. Now rather melancholy, the soaring melodic line ends on a desperate cry before falling back quickly to the lower register.
The seventh and final dance begins in precisely that same register. In no other movement are there so many tempo changes, from a moderato beginning to a presto ending. Two different themes – one rather sturdy, played by the flute; the other, very lyrical, given to the violins – will combine in the development. After a brief lull, an immense explosion of joy (based on variations of the second motif) puts an end to the concerto.