20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Koechlin Charles
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
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Arrieu, Claude
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Sonata for flute and piano, Op. 52
Sonata for flute and piano, Op. 52
14 pieces for flute and piano, Op. 157b
14 pieces for piccolo and piano, Op. 157b
Sonatina for solo flute No. 1, Op. 184
Sonatina for solo flute No. 2, Op. 184
Sonatina for solo flute No. 3, Op. 184
Les chants de nectaire, Op. 198 for solo flute (No. 1-12)
Les chants de Nectaire, Op. 198 for solo flute (No. 13 -24)
Les chants de Nectaire, Op. 198 for solo flute (No. 25 -32)
Sonata for flute and piano, Op. 52
Charles Koechlin: Sonata for flute and piano, Op. 52 was written between 1911 and 1913. Titled specifically "Sonate pour piano et flûte," the piece was dedicated to Madame Herscher-Clément (Jeanne Herscher-Clément), a prominent French pianist and composer of the era. This dedication reflects the substantial, often complex role of the piano in this piece.
It was premiered on June 3, 1914, at the Salle Malakoff in Paris by flutist Adolphe Hennebains (a professor at the Paris Conservatory) and pianist Mlle E. Bompard.
The year 1913 was a pivotal time for Koechlin, marking a transition into a more prolific phase of chamber music. After early focus on choral music and songs, Koechlin began to feel confident enough to write extended instrumental works. Op. 52 was the first in a significant series of sonatas he would write for various instruments over the next decade.
During the 1910s, Koechlin’s style evolved to explore more complex harmonies and polytonality. The sonata reflects this through its refined nuances and atmospheric "Mediterranean" impressions. In the years leading up to this composition, Koechlin had co-founded the Société Musicale Indépendante (SMI) in 1909 alongside Ravel and Fauré to promote contemporary music. The sonata’s premiere took place at an SMI concert.
Around 1913, he was also working on major projects like the symphonic cycle Les Heures persanes and his first String Quartet.
Terry Lynn Hudson (piano), 2014, MSR Classics / Orchard
1. Adagio. Molto Tranquillo
Terry Lynn Hudson (piano), 2014, MSR Classics / Orchard
2. Mouvement de Sicilienne
Koechlin Charles
Charles Koechlin (1867–1950) was a prolific French composer, theorist, and teacher. A polymath with a deep interest in astronomy, photography, and philosophy, he created a vast musical world that spanned from the academic traditions of the 19th century to the most radical innovations of the 20th century.
Born in Paris into a wealthy family of Alsatian industrialists, Koechlin was initially groomed for a scientific career. He entered the prestigious École Polytechnique in 1887 to become an engineer. A severe bout of tuberculosis forced him to abandon his scientific studies. During his recovery, he turned to music, entering the Paris Conservatoire at the age of 23. There he studied composition with Jules Massenet and Gabriel Fauré, becoming Fauré’s favorite pupil and later his biographer, eventually orchestrating Fauré’s famous Pelléas et Mélisande suite.
In 1909, he co-founded the Société Musicale Indépendante (SMI) with Maurice Ravel and Florent Schmitt to challenge the rigid conservatism of the Paris musical establishment. Additionally, Koechlin was arguably the greatest musical theorist of his era, teaching pupils such as Francis Poulenc and Cole Porter.
In the 1930s, he developed a legendary fascination with early cinema stars like Lilian Harvey and Jean Harlow, composing hundreds of "Seven Stars" miniatures and symphonic poems in their honor.
Koechlin’s music is famously diverse, ranging from crystalline modal melodies to dense, complex polytonality and atonalism.