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Suite for three flutes
COMPLETE RECORDING OF THE 4 MOVEMENTS
AND EXCERPTS OF THE SCORE :
I. POCO RUBATO :
II. SCHERZANDO :
III. MOLTO SERENO – COMME SUSPENDU :
IV. VOLUBILMENTE :
Les Chemins de Traverse (Barbara Minder, Isaline Dupraz and Matthieu Amiguet, flutes)
This work has been commissioned by the Chemins de Traverse Ensemble, and has been first performed by the same ensemble on April 23rd, 2007, in Neuchâtel (Switzerland). The recordings have been realized in Geneva and Lausanne on November 9th and 11th, 2007.
Duration of the work : approximately 13’10
This suite for three flutes has been written on request of the ensemble Les Chemins de Traverse, which gave its first performance on April 23rd, 2007, in Neuchâtel (Switzerland). It consists of four movements, each of which puts into light a different instrument. The first movement, with alto flute, is mysterious and of changing mood, partly based on the sonority of the open fourths and fifths. The second, with piccolo, is a spontaneous, skipping along and almost carefree scherzando. The third, very serene, is near to a Zen meditation, suspends the time and puts into light the mysterious sonorities of the bass flute. The last movement, written for the three flutes in C, is voluble and dynamic, like a race during which the flutes exchange themes with fluidity.
Laurent Mettraux, February 24th, 2007
Critic from the newspaper L’Express :
It is to be said that this work is one of the most impressive Swiss first performances that I’ve heard for a long time : rich, amazing, full of an emotion accessible to all and reaching a depth and a sincerity of all instants.
Laurent Mettraux creates in the first movement, dedicated to the alto flute, an enchanting atmosphere that might remind of the Middle Ages, in a strange alloy of flutes. Each sonority unveils itself, to be savoured. […] In the second movement, the piccolo is king as well as jester, leading his companions into polyrhythmical jokes, the whole nevertheless keeping some gravity.
The third movement, with the bass flute, is the central part of the work; it’s a long, serene meditation, whereas the dynamic finale puts the three C-flutes on the same level with the intense and delightful virtuosity of the interpreters.
Alexandre Traube, l’Express, April 26th, 2007