In the wake of the defeat of the Franco-Prussian War and the awakening of national consciousness, a search for the self-identity was the atmosphere of literature, art and music in France at the end of the 19th century. The "Société nationale de musique" was founded by many musicians to support and encourage the creation of new French musicians as well as to unite national values by promoting the characteristics of French music. The French flute music scene was led by Taffanel's reform and the creation of a new repertoire, which fostered the work of Albert Roussel (1869-1937), Joueurs de flûte, op. 27 (1925), that was created in this historical context. There are many different elements in this piece, such as Hindustani, Arabesque style and impressionistic compositions, etc. This article will explore the various compositional techniques, styles, and elements of Joueurs de flûte, op. 27, which Albert Roussel used to integrate his unique life experiences and studies, and discuss his stylistic interpretations with my professor.

Program:

L. v. Beethoven (1770-1827): Sonata for Horn and Piano in F major, op. 17 (for Flute and Piano)

C. Franck (1822-1890): Sonata for Violin and Piano in A major (for Flute and Piano)

F. Kuhlau (1786-1832): Introduction and Variations on a Theme from Carl Maria von Weber’s “Euryanthe” for Flute and Piano op. 63

A. Jolivet (1905-1974): Concerto for Flute and String Orchestra (for Flute and Piano)