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Sonata in A Major for flute and piano FWV 8

Sonata in A Major for flute and piano FWV 8

By Franck César

César Franck: Sonata in A Major for flute and piano, originally for violin and piano, was written in 1886. The Sonata was composed as a wedding present for the celebrated 28-year-old Belgian violinist Eugène Ysaÿe and his bride, Louise Bourdeau de Courtrai.
The premiere of César Franck's Sonata in A Major occurred in two stages: a private performance as a wedding gift and its public debut, which is famous for its dramatic circumstances.
On September 26, 1886, in Arlon, Belgium, for a small, private wedding audience, the Sonata was premiered by Eugène Ysaÿe (violin) and Marie-Léontine Bordes-Pène (piano), the sister-in-law of their friend Charles Bordes, who presented the gift.

The official public concert premiere took place later, with the same performers, and is well-known for an unusual anecdote:
On December 16, 1886, at the Musée Moderne de Peinture (Museum of Modern Painting) in Brussels, the Sonata was intended as the final piece on a long program that started in the late afternoon. As the concert progressed, dusk fell, and the art gallery grew dark. Museum regulations strictly forbade any artificial light, including matches, in the rooms containing paintings. The audience, captivated by the music, refused to leave. Ysaÿe, with a flourish, struck his music stand with his bow and exclaimed, "Let's go on!"
Ysaÿe and Bordes-Pène proceeded to play the final three movements entirely from memory in the near total darkness, relying solely on their artistry and passion. Those present described the performance as a "miracle" where the music alone held "sovereign sway in the blackness of night," a testament to the power of the music and the virtuosity of the performers.

Aurèle Nicolet

Boris Berman (piano), 1987, Tudor / Naxos

1. Allegretto ben moderato

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Aurèle Nicolet

Boris Berman (piano), 1987, Tudor / Naxos

2. Allegro

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Aurèle Nicolet

Boris Berman (piano), 1987, Tudor / Naxos

3. Recitativo–Fantasia

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Aurèle Nicolet

Boris Berman (piano), 1987, Tudor / Naxos

4. Allegretto poco mosso

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Marina Piccinini

Andreas Haefliger (piano), 2006, Andreas Haefliger / Orchard

1. Allegretto ben moderato

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Marina Piccinini

Andreas Haefliger (piano), 2006, Andreas Haefliger / Orchard

2. Allegro

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Marina Piccinini

Andreas Haefliger (piano), 2006, Andreas Haefliger / Orchard

3. Recitativo–Fantasia

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Marina Piccinini

Andreas Haefliger (piano), 2006, Andreas Haefliger / Orchard

4. Allegretto poco mosso

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Franck César

César Franck (1822 - 1890) was a Belgian-born composer, organist, and music teacher who spent most of his adult life in Paris and is regarded as one of the most important figures in French music in the latter half of the 19th century. He was a central figure in the revival of instrumental music in France.
Born in Liège, Belgium, Franck displayed prodigious musical talent early on. His demanding father pushed him toward a career as a virtuoso performer. Franck studied at the conservatories in Liège and Paris, winning first prizes in piano and organ. He settled permanently in Paris in 1844, initially focusing on a career as an organist and teacher rather than a composer, to support himself financially.
Franck's career centered around two main pillars: teaching and church music. He was an influential and devout organist, most famously at the newly built Basilica of Sainte-Clotilde in Paris from 1858 until his death. His improvisational skills were legendary, and he was highly respected by the Parisian music community.
In 1872, Franck was appointed Professor of Organ at the prestigious Paris Conservatoire, a position that cemented his influence on a generation of French composers, including Vincent d'Indy, Ernest Chausson, and Henri Duparc. His students affectionately nicknamed him "Père Franck" (Father Franck).
Franck's style is characterized by robust counterpoint, rich and often chromatic harmony, and a strong sense of formal structure, heavily influenced by the German tradition of Beethoven and Wagner. He was a master of cyclic form, a technique where a single musical theme recurs in different movements, unifying the entire work.
Among his most significant works: Symphony in D minor (1888) and Violin Sonata in A Major (1886).