20th century
Baroque
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20th century
21st century
Solo repertoire
Piccolo
Alto flute
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Gaubert Philippe
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
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Françaix, Jean
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Gaubert, Philippe
Genzmer, Harald
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Kornauth, Egon
Kraft, Leo
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Kupferman, Meyer
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Lavista, Mario
Lee, Eugene
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Tansman, Alexandre
Tomasi, Henri
Tower, Joan
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Varèse, Edgar
Vasks, Pēteris
Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
Sonatina quasi Fantasia in G Major for flute and piano
Ballade for flute and piano in G minor
Romance No 1 for flute and piano
Nocturne and Allegro Scherzando for flute and piano in D-flat Major
Romance No 2 for flute and piano
Madrigal for flute and piano, Op. 9, No. 1
"Divertissement Grec" for flute and piano
Fantasie for flute and piano in G minor
Deux Esquisses for flute and piano
Sicilienne for flute and piano
Sonata for flute and piano in A Major
Sonata for flute and piano in C Major
Sonatina quasi Fantasia in G Major for flute and piano
Philippe Gaubert: Sonatina quasi Fantasia in G Major for flute and piano was written in 1937 and is one of his final and most sophisticated contributions to the flute repertoire. Unlike his earlier "salon" pieces, this work reflects the structural complexity and emotional depth of his late style.
The piece is dedicated to the legendary flutist Marcel Moyse, the preeminent flutist of the era and Gaubert’s successor in maintaining the "French School" traditions. The work was premiered on May 12, 1937, at the Paris Conservatoire. It was performed by the dedicatee, Marcel Moyse, with Jean Bobet at the piano.
After decades focused primarily on conducting large-scale orchestral works and operas, Gaubert returned to his roots in chamber music. The Sonatine quasi Fantasia shows his evolution: it moves away from pure Impressionism toward a more structured, Neoclassical influence, while still retaining the "fantasy" freedom suggested by the title.
As the title suggests, it is a "Sonatina" (implying a small sonata form) but treated "quasi Fantasia" (like a fantasy). This means the traditional boundaries between sections are blurred, allowing themes to flow organically into one another. In 1937, Gaubert utilized much bolder chromaticism. While the home key is G Major, the music constantly modulates to distant keys, creating a sense of restless searching and modern sophistication, sometimes described as a "vocal monologue" for the flute, requiring the player to maintain a declamatory, operatic quality.
The year 1937 was a pinnacle for Gaubert’s career as a cultural diplomat for France, though it was shadowed by the rising political tensions in Europe. That year, Paris hosted a massive World’s Fair. As the Principal Conductor of the Paris Opéra, Gaubert was at the center of the city's cultural life, directing gala concerts and representing French musical excellence.
Ursula Alvarez Heredia (piano), 2022, ARTALINNA / IDOL
1. Allegretto, très allant, avec simplicité et fraîcheur
Ursula Alvarez Heredia (piano), 2022, ARTALINNA / IDOL
2. Hommage à Schumann (Andante quasi adagio - Variations I, II, III - Pas trop vif)
Gaubert Philippe
Philippe Gaubert (1879-1941) was a French flutist, conductor, and composer who primarily wrote music for the flute.
Born in Paris, Gaubert displayed exceptional musical talent early. He entered the Conservatoire de Paris, where he studied flute with Paul Taffanel, the founder of the modern French Flute School. He excelled not just as a flutist but also as a composer, winning the prestigious Prix de Rome in 1905 with his dramatic scene Sinfonietta and his cantata Daphnis.
Gaubert quickly established a brilliant career. By age 18, he was co-principal flutist at the Paris Opéra orchestra. He co-founded the Société Moderne d'Instruments à Vent (Modern Society for Wind Instruments) to promote new works for winds.
His career was interrupted by World War I, where he served with distinction as an artillery officer and was decorated for bravery. The war had a profound impact on him.
After the war, Gaubert's career reached its zenith when he simultaneously attained three of the most important musical positions in France - Principal Conductor of the Paris Opéra (1918), Conductor of the Société des Concerts du Conservatoire, and Professor of Flute at the Paris Conservatoire (1919).
Among his most notable students: Marcel Moyse.
Gaubert's compositional style is deeply rooted in the French Romantic and Impressionistic traditions, showing the influence of Fauré and Debussy. His music is characterized by lyrical elegance, delicate harmonies, lush colors, and a natural feel for the capabilities of the instruments, especially the flute.
As the favourite pupil of Taffanel, Gaubert received a complete archive of Taffanel's life's work, including history, theory, and practice of the flute, to be finished and published. Gaubert completed this project in 1923, and until today the Taffanel and Gaubert method remains a very important source for flutists around the world.