20th century
Baroque
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Solo repertoire
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Tomasi Henri
Aitken, Robert
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Arrieu, Claude
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Les Cyclades for flute solo
Les Cyclades for flute solo
Henri Tomasi: Les Cyclades for flute solo was published in 1964 by Alphonse Leduc in Paris. Originally for solo C flute, with an optional 2nd flute (ad libitum) for certain sections. Some movements can also be performed on the alto flute (G flute).
Les Cyclades embodies Tomasi's "Mediterranean" aesthetic—sensorial, colorful, and vibrant with melodic warmth. The movements utilize exotic-sounding scales and fluid rhythmic structures to evoke ancient pastoral scenes.
The composition consists of three movements, each evoking a specific island:
1. Ios (Invocation)
It is a prayer-like "invocation", played on the standard C flute. The first movement sets a contemplative, even ritualistic mood: typical of Tomasi's "mystic" and "pantheist" leanings.
2. Naxos (Chant d'Amour)
This "Love Song" is a lyrical and expressive movement. To achieve a warmer, more resonant quality, Tomasi specifically suggests the alto flute (G flute) for this movement, though it can also be performed on the C flute.
3. Delos (Danse du Berger)
The "Shepherd's Dance" evokes a pastoral, lively scene on the sacred island of Delos. It is written for the C flute and features more rhythmic and playful energy compared to the previous movements, capturing the spirit of an ancient folk dance.
In the 1960s, Tomasi was increasingly motivated by political and philosophical themes following his retirement from conducting due to deafness.
Tomasi Henri
Henri Tomasi (1901–1971) was a major 20th-century French composer and conductor known for his vibrant, "Mediterranean" musical language and his significant contributions to the wind instrument repertoire.
Born in Marseille to parents of Corsican descent, Tomasi’s childhood was marked by poverty and musical talent. He began piano at a young age and often played in cinemas and brothels at 15 to support his family, an experience that honed his gift for improvisation.
Then he went to Paris, where he studied composition with Paul Dukas and Vincent d’Indy at the Paris Conservatory. In 1927, he achieved a rare double distinction: winning the First Prize for Orchestral Conducting and the Grand Prix de Rome for composition simultaneously.
Tomasi held several prestigious posts, including music director of the Radio Colonial Orchestra in Indochina (1930–1935) and principal conductor of the Opéra de Monte Carlo (1946).
While he wrote extensively for the stage, including operas like Don Juan de Mañara, he is best known today for his concertos for wind instruments, including flute, trumpet, saxophone, and trombone.
His music is described as "sensorial and multicoloured," often incorporating exotic influences from Corsica, Provence, and French Indochina. Tomasi famously rejected rigid musical "systems," stating, "I've always been a melodist at heart... Music that doesn't come from the heart isn't music".
His later works became increasingly political, reflecting his disillusionment with mankind following World War II through pieces like Chant pour le Vietnam and In Praise of Madness.