L’après midi en France (10/27/12)

This was a very entertaining Saturday afternoon of flute (Megan Emigh) and piano (Riko Higuma) music with a varied French program:

Romance for Flute and Piano, Op. 37 (1871) – Camille Saint-Saëns

Sonata for flute and piano (1957) – Francis Poulenc 
  1. Allegretto malincolio
  2. Cantilena: Assez lent
  3. Presto giocoso

Suite for Flute and Piano, Op. 34 (1877) – Charles-Marie Widor

Sonata for flute and harpsichord – Jean-Marie Leclair  No. 8 in G major, book 4, No. 7 (1723)

Sonatine for Flute and Piano (1946) – Pierre Boulez

First, both performers were top notch all afternoon long. I found that the opening piece lacked a little bit of oomph, but in respect of the rest of the program, it was the right spot for it. It was played well, just a little too calm for my taste as an opener.

I really enjoyed the Poulenc a great deal, and the Presto giocoso provided a lot of bravura playing from both performers. Throughout, I felt that the flute was more prominent (in the writing) but the piano was a strong, if not quite equal, partner. Both of these young ladies (Ms. Emigh’s bio listed her age as 23, Ms. Higumas’s did not list her age) are well-polished performers with varied international experience. Their playing was nuanced and clear.

The Widor was less successful, as a composition. Widor was primarily an organist/composer and while this piece fulfilled its aims, those aims were not quite on the same level as the Poulenc, to my ears.

The Leclair was a nice change of pace. As explained from the stage, movements one and three were composed in a French style (almost as dance movements) while movements two and four were in the Italian style (more energetic). All four movements were brief and well composed with clear phrasing and musical statements. This was straightforward music played very cleanly.

Also as explained from the stage, the Boulez was an early piece, written when he was a first-year student at the Paris Conservatoire. It explored his new-found knowledge of 12-tone music and it had glimpses of the Boulez rhythm and drive that I associate with this composer. But it was, indeed, an early work with almost an “everything-but-the-kitchen-sink” approach to composing. Still, while not my favorite piece on the program, it was dispatched in a thoroughly professional manner.

As to a professional manner, I would urge both performers to take ownership of their audience acknowledgments and curtain calls. Indecision in this aspect tends to slightly undo the enjoyment of what we had just heard. Take a bow. Take a second one if the applause seems to dictate it. Don’t hesitate – just do it!

ConcertMeister