20th century
Baroque
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20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Honegger Arthur
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
Bacri, Nicolas
Baker, Michael Conway
Baksa, Robert
Barber, Samuel
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Bon, Maarten
Bonis, Mel
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Boulanger, Marie-Juliette
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Danse de la chèvre for Flute solo
Danse de la chèvre for Flute solo
A. Honegger: Danse de la chèvre (Dance of the Goat) for solo flute was written in 1921 as incidental music for dancer Lysana of Sacha Derek's play La mauvaise pensée (The Bad Thought) and dedicated to flutist Rene le Roy who was a student of Philippe Gaubert at the Paris Conservatory at that time. It was first performed at the Nouveau Théâtre in Paris on 2 December 1921. The original manuscript of this piece has been lost. The editions that are out now were derived from a partial transcript found in Honegger's transcriptionist's works (name unknown). Circular form of the "goat danse" may suggest cyclical nature of life.
According to Paul Edmund-Davis:
"Debussy's “Syrinx” was written 8 years before the “Dance de la Chèvre”. Honegger was part of Les Six, the group of six composers who weren’t really anti-impressionists but equally were not over-enthusiastic about the movement either. They constantly attempted to push barriers, considering “Syrinx” as very sugary, or very sweet. The mentor of Les Six was Erik Satie. In Europe, particularly in Northern Europe and France at this time, people were questioning their religion. Since the French Revolution, the church had gained a poor reputation. People were looking for alternative religions and this is one reason why pieces like “Daphnis and Chloe”, “L’Après-midi d’un Faune” and “Syrinx” evolved. Many were looking at other beliefs and historical reference points, to see what people previously believed in and to find out if these beliefs were applicable to them. Erik Satie was an occultist; he didn’t worship traditional Christian gods.
Honegger was fascinated by this. The first interval in “Dance de la Chèvre” is an augmented fourth which is the tritone, otherwise known as the Devil’s Interval. And this interval appears pretty much constantly throughout the piece. As mentioned, it was written for a play called “La Mauvaise Pensée” which translates as “the evil thought”. What is the animal of sacrifice in a satanic ritual? The goat! This is the dance of the goat that is being led to be slaughtered. It all makes great sense, and it makes a much more challenging piece to perform. At the beginning, dark forces emerge, requesting a sacrifice. Then, the goat is led to the altar. He knows that something bad is about to happen, so he struggles to escape. He dreams of being in calm pastures on a sunny day, but that melody is interrupted as he moves closer to the altar. In blind panic he struggles but is brutally sacrificed and dies, life gradually leaving his body. At the end, as with the beginning dark spirits once again emerge. This time, satisfied with the sacrifice, they slowly disappear back into the darkness."
Honegger Arthur
Arthur Honegger (1892-1955) was a prolific Swiss-French composer and a prominent member of Les Six.
Born in Le Havre, France, to Swiss parents, Honegger maintained his Swiss citizenship throughout his life. His father was a coffee merchant, providing a stable, middle-class upbringing.
His education was split between the French and German schools, a duality that defined his style. He began studies at the Zurich Conservatory, where he was immersed in the works of Richard Strauss and Reger.
In 1911, he entered the Paris Conservatoire, studying under André Gédalge (counterpoint) and Charles-Marie Widor (composition). Here, he met future members of Les Six, including Darius Milhaud and Georges Auric. Les Six was the group of five French (D. Milhaud, F. Poulenc, G. Auric, L. Durey, G. Tailleferre) and one Swiss (A. Honegger) composers who lived and worked in Montparnasse in the early 1920s, and whose musical style is seen as a reaction against the impressionist music of C. Debussy and M. Ravel. Though associated with the group, Honegger was often the "odd man out" because he lacked the lighthearted, circus-inspired wit of Poulenc or Milhaud. He famously stated, "I am not a devotee of the fairground."
Most of his life he spent in Paris and is equally known for his eccentric lifestyle (living in different apartments with his wife), obsession with trains (thus his most performed orchestral work "Pacific 231", inspired by the sound of a steam locomotive), as well as numerous distinguished compositions: opera Antigone (1927), 5 symphonies, ballets, oratorios, his last composition "Christmas Cantata" (1953) etc.