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20th century




20th century

21st century

Solo repertoire


Alto flute

Bass flute

Honegger Arthur

Aitken, Robert

Arnold, Malcolm

Barber, Samuel

Bartók, Béla Viktor János

Beaser, Robert

Bennet, Richard Rodney

Berio, Luciano

Bernstein, Leonard

Bloch, Ernest

Bolling, Claude

Boulanger, Marie-Juliette

Bourdin, Roger

Bozza, Eugène Joseph

Brown, Elizabeth

Brun, Georges

Burton, Eldin

Büsser, Henri

Camus, Pierre

Carter, Elliott

Casella, Alfredo

Clarke, Ian

Colquhoun, Michael

Copland, Aaron

Corigliano, John

Dahl, Walter Ingolf Marcus

Damase, Jean-Michel

Davidovsky, Mario

Debussy, Claude

Del Tredici, David

Denisov, Edison

Dick, Robert

Dohnányi, Ernő

Dutilleux, Henri

Enescu, George

Feld, Jindřich

Ferroud, Pierre-Octave

Foote, Arthur

Foss, Lukas

Françaix, Jean

Fukushima, Kazuo

Gaubert, Philippe

Gieseking, Walter

Gordeli, Otar

Griffes, Charles Tomlinson

Grinblat, Romuald

Grovlez, Gabriel

Guarnieri, Mozart Camargo

Hanson, Howard Harold

Harsányi, Tibor

Harty, Hamilton

Heiss, John

Heith, David

Higdon, Jennifer

Hindemith, Paul

Honegger, Arthur

Hoover, Katherine

Hosokawa, Toshio

Hovhaness, Alan

Hüe, Georges Adolphe

Ibert, Jacques

Ichiyanagi, Toshi

Ittzés, Gergely

Jacob, Gordon

Jemnitz, Sándor

Jirák, Karel Boleslav

Jolivet, André

Karg-Elert, Sigfrid

Kennan, Kent Wheeler

Kornauth, Egon

La Montaine, John

Liebermann, Lowell

Martin, Frank

Martino, Donald

Martinů, Bohuslav

Messiaen, Olivier

Mihalovici, Marcel

Milhaud, Darius

Mouquet, Jules

Mower, Mike

Muczynski, Robert

Nielsen, Carl

Offermans, Wil

Piazzolla, Astor

Piston, Walter

Poulenc, Francis

Prokofiev, Sergey

Rachmaninoff, Sergei

Ran, Shulamit

Ravel, Maurice

Reynolds, Verne

Rivier, Jean

Rota, Nino

Roussel, Albert

Rutter, John

Saariaho, Kaija

Sancan, Pierre

Schulhoff, Erwin

Schwantner, Joseph

Sciarrino, Salvatore

Shostakovich, Dmitri

Sibelius, Jean

Tailleferre, Germaine

Takemitsu, Tōru

Taktakishvili, Otar

Varèse, Edgar

Vasks, Pēteris

Weigl, Vally

Weinberg, Mieczysław

Williams, Ralph Vaughan

Yun, Isang

Danse de la chèvre for Flute solo

Danse de la chèvre for Flute solo

By Honegger Arthur

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."

Alain Marion

Unfortunately no details available for this recording

Danse de la chèvre

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Rene Le Roy

1920s, The National Gramophonic Society

Danse de la chèvre

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Emmanuel Pahud

2018, Warner Classics

Danse de la chèvre

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Vincent Lucas

2014, Indésens Records / Believe SAS

Danse de la chèvre

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Honegger Arthur

Arthur Honegger (1892-1955) was a Swiss composer who most of his life 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.

Honegger was a member of Les Six, 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 which musical style is seen as a reaction against the impressionist music of C. Debussy and M. Ravel.