04 /

THE FLUTE IN TWENTIETH-CENTURY

CHAMBER MUSIC

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Donald Mathew $mith, B. M.

Denton, Texas

August, 1962

TABLE OF CONTENTS

PageLIST OF ILLUSTRATIONS. . . . . ......... .. iv

Chapter

I. THE DEVELOPMENT OF THE FLUTE UP TO ANDINCLUDING THE INNOVATIONS OF THEOBALDBOEHM. . . . . . . . . . . . . . . . .

II. THE FLUTE IN CHAMBER MUSIC BEFORE THETWENTIETH CENTURYUR.... . ...... 10

III. THE FLUTE IN TWENTIETH-CENTURY CHAMBERmusic.* ......... 17

The Chamber Music of Ravel and DebussyThe Chamber Music of Schbnberg and WebernThe Chamber Music of Milhaud, Bozza,

Franpaix, and PoulencThe Chamber Music of Cowell and Riegger

BIBLIOGRAPHY. . . . . 9 . . . . 9 9 9 . . . . . . . . 4.9

iii

LIST OF ILLUSTRATIONS

Figure

1. Ravel, Introduction et allegro,measures I" .... ....

2. Ravel, Introduction et Alle-gro,measures 305-313. . . . . . . . . .

3. Ravel, Introduction et allegro,measures 19-2............

4. Debussy, Sonata, First Movement . . .

5. Debussy, Sonata, "Final," measure 15. . .

6. Schonberg, Pierrot Lunaire, "Ein blasseWascherin," measures 6-7. . . . . .

7. Schonberg, Pierrot Lunaire, "Galgenlied,"'measurer2o3 .u.i. .l.ei .. a.r.,.

8. Sch6nberg, Pierrot Lunaire, "Heimfahrtt

measure7'.. . . . . . . . .

10. Schlnberg, Pierrot Lunaire, "Colombine,"measures 38-39. . . . . . . . . . . .

11. Webern, Konzert, First Movement,measures *-. . . . . . . . . .... *

14. Webern, Konzert, First Movement,measures 21-22. . - . . - -.- . . . .0

13... Webern, Konzert, First Movement,measure~s-3b-39. .*.*.* . ..0.* . * . .

1.Webern, Konzert, Third Movement,measures 14,-15. -0-*-0- -*.0. . . .

Page

22

22

23

24

24

27

S 27

* 28

. 28

. 29

. 30

. 31

. 31

31

iv

Figure

15. Milhaud, La Chemin6e Du Roi Rene,"Corte-ge7"measures 10- .

16. Milhaud, Two Sketches, "Madrigal,"measures 29-30. . . . . . . . . . .

17. Milhaud, La Cheminee Du Roi Rene","Chasse a Valabre7 -measures 10-12.

18. Milhaud, Two Sketches, "Pastoral,"measures 17-20. . . . . . . .0.0..1

19. Bozza, Scherzo, measures 1-3. . ..

20. Bozza, Scherzo, measures 118-119. .

21. Franpaix, Quintette, Fourth Movement,measures 5-b. . . . . . . - -.- *

22. Franpaix, Quintette, First Movement,measures 7-10 . . . . . . . .-.4..*

23. Poulene, Sextour, measures 3-5. .. . .

24. Poulenc, Sextour, measures 256-257. . .

25. Cowell, Suite, Second Movement,measure 5 . . . . - - - . - - - .

26. Riegger, BlAserquintett, measures 54-56

27. Riegger, Bldserquintett, measures 20-23

28. Piston, Quintet, First Movement,measures 20-23. . . . . . . .*.a..

29. Piston, Quintet, Fourth Movement,measures 139-141. . . . . . . . ..*

30. Hindemith, Septett, First Movement,measures 72-73. . . . . . . .

31. Hindemith, Septett, Second Movement,measures . . . . . . .

32. Barber, Summer Music, measure 2 .

Page

33

. . 34

34

. . 3536

36

. - 37

.-38

.-39

0 39

--41

..42

43

43

.. 44

4546

V

33. Barber, Summer Music, measures 38--O. . . 147

vi

Figure Page

CHAPTER I

THE DEVELOPMENT OF THE FLUTE UP TO AND INCLUDING THE

INNOVATIONS OF THEOBALD BOEHM

In the Paleolithic settlements of Moravia there have

been found whistles and flutes of reindeer joints and lion's

teeth, made by hunters who lived in the plains of Central

Europe. Similar bone flutes and whistles have been found in

the cliff dwellings of Colorado and in the ancient graves of

this area. Flutes of various types were in existence in the

ancient civilizations of Sumer, Egypt, and Israel, as well as

in Mexico and in South America. 2

The production of sound by the "flue" method is created

by wind which is directed against a sharp edge in the pipe,

so that it alternately passes into the pipe and is dispersed

outside it. This method is common to the flutes and a

number of organ pipes. 4

1Francis W. Galpin, A Textbook of European MusicalInstruments (London, 1937T,TP. 160.

2"Flute," Harvard Dictionary of Music, 12th ed.(Cambridge, 1950).

3Karl Geiringer, Musical Instruments (New York, 1954),p. 25.

4Donald N. Ferguson, A History of Musical Thought (NewYork, 1939), p. 124. An acoustical analysis of the "flue"method may be found in this publication.

1

2

The ancient flutes, operating within a restricted dynamic

range as they almost invariably did, were most suitable f9r

intimate gatherings or occasions which at least did not

emphasize music or other sounds at the higher levels of vol-

ume.5 The tradition of the flute as being foremost in music

of pastoral character still persists, as witness Claude

6Debussy's Syrinx (for flute alone). The gentle quality of

recorders in particular has limited their usage to such

occasions and to the chamber-music group.

A flageolet-like instrument with finger holes was made

by the Aztecs and the Peruvians., These were often made of

pottery and used for religious festivals and public cere-

monies.8 These whistle-head instruments were known to the

Assyrians, the Egyptians, the Greeks, and the Romans.9 The

equal spacing of the finger holes in the vertical tube of

5For a resume of this subject see the following disserta-tion: Gibson, 0. Lee, "The Serenades and Divertimenti ofMozart," unpublished doctoral dissertation, School of Music,North Texas State University, Denton, Texas, 1960, pp. 16-18.

6Claude Debussy, Syrinx, Paris, Jean Robert, 1927.

7Ferguson, p. 129: ". . . the compass of the beak-fluteis thus small, but its tone is sweet and soft."

8Marion Bauer and Ethel R. Peyser, Music through theges (New York and London, 1932), p. 11.

9Francis W. Galpin, A Textbook of European MusicalInstruments Their Origin, History, and Character (London,1937), p. 163.

3

the flute is believed to have been the origin of the Greek

Harmoniai or modes, which gave rise to the present major

and minor scale system. 1 0

The whistle-head instruments, the flageolet and the

recorder,12 were fully developed and provided the popular

instruments of the Middle Ages until the arrival of the

transverse flute.13

The flageolet was made in many variations, as were the

other pipes, and various constructions of this instrument

were carried on into the nineteenth century.24 Although the

flageolet was a popular domestic instrument, it did not equal

the recorder, for artistic purposes.15

10 "Flute," Grovets Dictionar of Music and Musicians,5th ed., Vol. III (New York,194B

11Anthony Baines, Woodwind Instruments And Their History(New York, 1957), p. 221:F"The time-honored vllFagecO'itomsof making willow May whistles suggests that the West has beenlong familiar with 'block' method of constructing a flageo-let."

120urt Sachs, The History of Musical Instruments (NewYork, 1940), p. 309F "We do not know where the recorderoriginated. Its first evidence is in a French miniature ofthe eleventh century."

13Flute,W' Harvard Dictoar:: "In the head is a sidehole embouchure across which the player blows thus settingin vibration the column of air inside the tube.o

1 4 Galpin, pp. 75-80:: A history of this instrument andits usage is described in detail by this author.

1 5 "Flute,"T Harvard Dictionary.

4

The response to the recorder was due to its ease in

playing16 and pleasure in sound.1 Although the date of the

recorder's origin is not known, the name is late fourteenth-

century.18 In Germany, the recorder bears the names Block-

Flote or, from its beak-shaped mouthpiece, Schnabel-Fl6te.

In France, it bears the name Flite Douce; the Spanish name is

AJabeba. 1

The use of the recorder as a chamber instrument began in

the early fifteenth century. This was in contrast to the

bands of pipes, shawms and other piercing instruments. The

chief development of the recorder as a chamber instrument

occurred in its use in a consort or family of four different

sizes at the beginning of the sixteenth century.20 Virdung

(1511) in his illustrations uses the term quartette.21

The use of the thumbhole has not been established as a

sixteenth-century device.22

The history of the transverse flute of the medieval and

renaissance periods is difficult to separate from that of the

16Ferguson, p. 140: ". . . that instrument was rela-tively as easy to play as is indicated in Hamlet's remark,'Tis as easy as lying.' For the lips did not require to beshaped to produce a tone.t

17Sachs, p. 309: "The English term recorder, from theobsolete record, 'warble,' compares it to a singing bird."

18Baines, p. 221. 1 9Galpin, p. 164.

20 Geiringer, p.o 104. 21Galpin, p.164.

22Geiringer, ibid.

S

other musical pipes. Its migration seems to be of oriental

origin; its establishment occurred in the West about the

twelfth century.23 The fourteenth-century term in France

for this instrument was the Fleuthe traversaine. In Germany

it was known as the Querpfeife, and later, in the fifteenth

century, it received the title flauto Alemano, or Fl'te

Allemande, or German flute.24

Sebastian Virdung (1516) in his Musica netutschtdand

Aussgezogen, gives the first mention of detailed information

of this transverse flute.25 The next description of these

instruments may be found in Agricola's Musica Instrumentalis

Deutsch (1528).26

The most outstanding development of the transverse flute

in the sixteenth century came from the widening of the bore

of the pipes played in the bands of the Swiss Guards. This

increased the ease of blowing in the lower register. For

the most part, it remained a military instrument.27

Shakespeare makes mention of these pipes in England as

being "wry-necked" and having ear-piercing quality.28

2 3 Galpin, p. 169: "In the eighth and ninth centuries. . with the extension of Arab domination . . . this instru-ment, the transverse flute of the East, was carried intoEurope and is figured in Byzantine wall-paintings. In theeleventh century, it is portrayed in Russia in the sculptureof Kiev Cathedral. The following century found it wellestablished in Germany."

24Galpin, p. 170. 25"Flute," Grove's Diet

26Ibid 2 7Geiringer, ibid. 2 8 Galpin, p,. 170.

6

An early sixteenth-century painting by an unknown French

artist, now in the Harrach collection in Vienna, shows three

women, one singing, one playing the lute, and one playing the

transverse flute. The flute is obviously made of wood.

In Cervantes' Don Q uixote there is mention of a group

of entertaining musicians playing "flutes, tambourines,

psalteries, pipes, tabors and timbrels." 29 The pipes were

three-holed whistle-head instruments which were played in

combination with the tabor (a small drum), with which the

performer accompanied himself. According to GalpinO this

combination of pipe and tabor was popular in England for

accompaniment of Morris and rustic dances. It had been first

used by the Troubadours in the south of France and north of

Spain.31

During a period of extensive experimentation numerous

additions were made to the flute family by the early seven-

teenth century, Praetorius in his Synta Musicum (1619)

lists the full recorder consort as a family of twenty-one

instruments .32

Galpin3 notes that the first key was added to the

transverse flute at the end of the sixteenth century, this

29Miguiel de Cervantes Saavedra, Don 9,u of La Man-

cha, translated by Walter Starkie (New~York, 19b0TT p. ~71.

30Galpin, p. 167. 31Baines, p. 224.

32Galpin, p. 164. 33Ibid., p. 170.

7

being done to aid the performer in closing a hole too distant

to be reached by the fingers. Sachs34 notes an "open key"

first recorded in a Netherlandish source in 1413, its purpose

being the same. The first semitone key was added to the

transverse flute in the seventeenth century.35 The bass and

contra-bass recorders were provided with four keys at the

beginning of the seventeenth century.36 About 1650 the

recorder's slender form was changed to "a shape which was

obviously determined by canons of form." 37 Although the

English maintained their preference for the recorder (called

in the seventeenth and eighteenth centuries the "common

flute")3 8 it came to be less generally used on the continent

in deference to the transverse flute, with its contrasts of

dynamics and tone.

The best remembered of instrument makers of this time is

Jean Hotteterre (d.c. 1760), a bagpipe player and builder.

He employed the same system of tuning by joints in the con-

struction of members of the wind family.39 In the tutor,

Principes de la fluite (1707)A0 the frontispiece shows the

34Sachs, p. 310. 35Galpin, p.

36 Geiringer, p. 138. 371bid.

38 Galpin, p. 165. 39Baines, p. 276.

40"Hotteterre," Baker's Biographical Dictionar ofMusicians,(New York, T8Y7 This manual is attributed toJacques Hotteterre.

8

transverse flute being played, it being constructed in many

joints.

Baines~l attributes the abolishment of the cylindrical

bore, better finger placement (due to closer placed holes),

and the addition of the new E flat key to the Hotteterre

family. The next improvement to the flute was the extension

of the tubing to allow the playing of C sharp' and C,.

quantz: (1697-1773), a court musician for Frederick the

Great, is credited with the invention of tuning joints, the

head plug, and a second key to correct the difference between

DI and E flat'.

By 1800 a six-keyed instrument was widely used. Al-

though chromatic keys had been used for centuries in the

construction of bagpipes, the flute was the first of the

woodwind family to use them extensively in this capacity.

The attempts at improvement by keys were due to the incorrect

position of the finger holes, which conformed to the position

of the fingers but not with the laws of acoustics.5

At the beginning of the nineteenth century additional

keys had been added to make an eight-keyed instrument. The

4lBaines, p. 194.

42Geiringer, p. 172. Geiringer credits this innovation

to a London flute maker, Richard Potter.

4-Galpin, p. 171. 4 4Baines, p. 194.

45"Flute," Harvard Dictionary.

9

piccolo flute came into being near the end of the eighteenth

century and in construction parallels that of the flute. 6

It was introduced by Tromlitz (1791). The old flauto piccolo

was a flageolet.17

The alto and bass flutes, which complete the consort,

came into being with the refinement of the transverse flute.

They are, as is the piccolo, parallel to the soprano flute

in their construction.

The inventor of the modern flute was Theobald Boehm

(1794-1881). As a performer his first instrument was a

flageolet; later he changed to the flute, a one-keyed

model.4 8 Its poor intonation, Boehm said, resulted from

the instrument's cross fingerings. Boehm's most important

innovations were the enlargement of the holes through an

.49extensive key system, full venting, and the cylindrical bore.

Few technical changes have been made from his original design.

(The original G sharp key was designed to remain open, but

it is generally accepted today to be better as a closed key.)

46Geiringer, p. 173.

4 7Galpin, p. 173.

8Theobald Boehm, The Flute and Flute Playing, trans-lated by D. C. Miller (London, 1922T, pp. 4-5.

49Galpin, p. 172.

50Boehm, p. 10.

CHAPTER II

THE FLUTE IN CHAMBER MUSIC BEFORE

THE TWENTIETH CENTURY

Early references to the use of the members of the "flue"

family of instruments in European history, and to the an-

cestors of those instruments later to be used in organized

ensembles, are best found in the literature of the fourteenth

century.1 Chaucer (1340-1400) in his Canterbury Tales2

describes a young squire as "fluting all day."

The various whistle-head and transverse instruments were

used for personal and domestic use; also guilds of pipers

had become common by this time.3 The guilds had a stronger

attachment for the more piercing sound of the transverse

flutes.

1Curt Sachs, The History of Musical Instruments (NewYork, 1940), p. 287: "The middle ages had two kinds offlutes; a French poet of the fourteenth century, Guillaume deMachault, called them flaustes traversaines and flutes don'tdroit joues guand tu flaustes, 'cross flutes and flutes thatyou play straight when you pipe.? The straight flute usuallycalled flagol in old French, was certainly a beaked flute orrecorder. Sometimes they were used in pairs; . . .. "

Geoffrey Chaucer, The Canterbury Tales, translated byR. M. Lumiansky (New York, 1961), p. 2.

3"Professionally, too, instrumental music was an a firmbasis; guilds of trumpeters, pipers, and fiddlers were estab-lished late in the thirteenth century." Homer Ulrich, Cham-ber Music, The Growth and Practice of an Intimate Artp, p.13.

10

11

Specific writing for defined instruments was not of

common practice in the fifteenth century. But early examples

of instrumental part-writing can be observed in the Glogauer

Liederbuch, one of the earliest collections of this kind.A

Late in the sixteenth century the collegium musicum,

originally devoted to choral music, both sacred and secular,

opened its ranks to instrumentalists, allowing a broader

participation by the village musician in an organized group.5

Gustave Reese, Music in the Renaissance (New York,1959), p. 635: "The extensive~Glogauer (or Berliner) Lieder-bueh (Berlin, Off. wiss. Bibl. 009) a MS 3V s. markedthiTcantus,' 'Tenores,' and 'Contratenores,' was probablywritten c. 1477-1488 and may therefore be the earliest knownexample of writing in part books. Its 294 pieces, mostlya 3 and the rest a 2 or a 4, are even more varied than thecontents of the other two Liederbucher. It includes 158Latin pieces (16 of which appear also, anonymously, in theTrent Codices), 70 lieder, 61 pieces apparently intended forinstrumental performance, three quodlibets (the earliestGerman examples of this curious form), one Italian song, andone Slavic song. Many of the instrumental pieces and some ofthe Latin ones have been identified as works, originally withFrench texts, by Dufay, Ghizeghem, Ockeghem, Tinctoria, Bus-nois, Caron, Vincent, and Grolo."

5Ulrich, pp. 18-19: "In this line Limateur music of alltypes7 are included all such activities as communal musicpurely for self-entertainment, village dances, accompaniedsongs, and, perhaps most important for the future, the col-legium musicum. Organizations bearing that name had beenestablished in the middle of the sixteenth century, simulta-neously with the decline of the chairs of music in theRenaissance universities. They were in a sense the lowerand middle class counterparts of court groups and profes-sional ensembles, to which the common man had access neitheras performer nor as listener. Originally devoted to choralmusic, both sacred and secular, they opened their ranks toinstrumentalists late in the century and were the arenas inwhich many of the newly emerging dance suites received per-formances."

12

The flute in Italy had very little opportunity in

chamber music. Its appeal rested in the poorer classes which

by custom and lack of communication relied on the more primi-

tive instruments bordering on the whistle variety.6 Although

the flute was employed for dramatic purposes, it was not

until Quantz (1697-1773) prevailed upon Scarlatti to write

for Quantz's improved instrument that any music of signifi-

cance was produced in Italy for the flute. In Germany there

were public performances of chamber music specifically

designated for the flute and it is most likely that these

performances were centered around the block-flute which was

a favorite instrument of that culture.

The instrumental canzone with its writing for specific

instruments was to be a major influence in the Baroque era.

6Ruth Rowen, E Chamber Music (New York, 1949), p. 8.

7Theodore M. Finney, A History of Music (New York, 1935),p. 222: "Peri scored three flutes /Euridic / in short in-strumental passages called ritornelli which separated theverses of one of the solo songs. Because of this germ itbecame universal procedure . . . . An early example ofinstruments being used for the dramatic suggestiveness oftheir tone color. The.pastoral quality of the flute tonewas obvious."

8H. M. Fitzgibbon, "Quantz," Cobbett's Cyclopedic Surveyof Chamber Music, Vol. II (Londoni9T:"Quantz may be saidto have been the first German composer of original classicalmusic for the flute, the music previously played having beenarrangements of pieces for violin or oboe."

9Rowen, p. 8.

13

Although the sixteenth-century instrumental ensembles were

strongly influenced by the vocal styles,10 Mattheson wrote

in his Der Vollkommene Kapellmeister (1739) seventeen

distinctions between the vocal and instrumental styles of

writing, noting that instrumental melodies were more choppy

and punctuated with wider ranges which promoted extensive

runs and leaps.11

The flute and recorder were both to be used by composers

of the eighteenth century, but the flute with its greater

capacities was to predominate from that time on. Bach used

the recorder in his Brandenburg Concertos Numbers 2 and 4 and

the flute in Number 5. However in his suites, trios, and

unaccompanied sonatas, he designated Flauto tranverso. The

transverse flute offered the performer an opportunity to

show greater control and tone color.1 J. S. Bach was the

10Ulrich, p. 31: "The first instrumental canzone of

which there is any bibliographical record did not see thelight of day until 1572, when Nicolo Vicentino published LaBella (canzone da sonar) at Milan. . . . Now, with Vicentinowe meet the new version, canzone da sonar, or canzone to beplayed; that is, played instead of sung. The distinction isan important one; it points first to the fact that music upto this time could have been performed by either a vocal oran instrumental group, or by both, that the composer hence-forth found it necessary to specify which group he had inmind, and that the possibility of distinguishing betweenvocal and instrumental style was at hand."

N4 Rowen, p. 3.

12Ibid., p. 64.

first to break away from the traditional style of writing

for the flute in a limited range and string-like character;

he extended the range in both directions, often writing down

to its low D. Handel and Telemann also made a distinction

between the two instruments and were idiomatic in their

selection. 1 3

The flute with its greater powered in its various regis-

ters and dynamic control quite naturally became a favorite

instrument of the Mannheim school with its revolutionary

instrumental demands. (Its instrumental styles, though

demanding, were often frivolous, however.)4

The flute's melodic capabilities may be seen in Mozart's

quartets for flute and strings. Mozart, although free in his

melodic style, restricted the instrument in the lower regis-

ter while writing in its upper register to At fit .15

With the nineteenth-century tendency for virtuoso per-

formance, and the development of the massive symphony, the

13Walter Cobbett, "Flute," Cobbett' f Cyce dic Surveyof Chamber Music, Vol. I (London, 1929).

14 Rowen, p. 130' "The retention of a string bass forreinforcing the lowest line in the obbligato clavier part waslikewise specified in clavier trios for harpsichord, violin(or flute), and bass by the Mannheimers, Franz Xaver Richter(1709-1789), Giuseppe Toeschi (1724-1788), Anton Filtz (1730-1760), and Ernst Eichner (1740-1777). Richter's Sonata dacembalo obligate, flauto traverso o violino concertato evTIolncello in A major, is a transitional piece in that thec;116, with few exceptions, is identical with the bass ofthe clavier part."

1LIV,

15

smaller chamber ensembles were neglected. Beethoven wrote

freely for the flute in his symphonies with demands often

comparable to those found in the modern literature, but in

his Quintet, Op. 16, for winds and piano, which follows

Mozart's model, he avoided using the flute. In his Serenade

in D, Op. 25, he exhibited a bold and skillful handling of

the flute. It is Beethoven's distinction to be among the

first composers to write for the piccolo as we know it today.

His first piccolo part appears in his fifth symphony. Small

recorders had previously been used rather than the transverse

flute.17

In the early nineteenth century, during which time the

playing and composition of duets, trios and quartets enjoyed

a vogue, a large quantity of this material was written by

classical flautist-composers such as Cabielski, Kummer,

Kuhlau, and Walekiers. These compositions exploited the

range of the flute as well as its technical possibilities.

The style was the traditional diatonic, chordal one of the

classical era. In the latter part of the century there was

a substantial increase in the number of chamber works written

for the flute in combination with other instruments. The

reasons for this change, in the opinion of Louis Fleury,

16"Flute," Cobbett's Cyclopedia.

17"Flute," Grove's Dictionar of Music and Musicians,

5th ed., Vol. I (NeW York, 1954.).

were (1) the great improvements made in the instrument during

the middle of the century, (2) higher standards of technique

attained, and (3) the personal influence of several great

flutists. These flutists preferred to perform works empha-

sizing musical content rather than pure virtuosity.l8

18Louis Fleury, "The Flute in Modern Chamber Music,"Cobbett's yelope-dic Surv of Chamber Music, Vol. I (London,

1929).*- -

CHAPTER III

THE FLUTE IN TWENTIETH-CENTURY

CHAMBER MUSIC

Musicians concerned with the flute at the end of the

nineteenth century, with their reverence of the classical

era as well as compositions of contemporary composers,

cherished the characteristic qualities and tendencies of

the flute. In their chamber music, at least, most composers

at the beginning of the twentieth century took great care

in not making undue demands upon the instrument. Such pro-

gressive ,impressionists as Debussy and Ravel still made sure

that when the flute played in the lower register the dynamic

level of the ensemble as a whole was normally soft; the works

are carefully arranged so that the flute is not covered.

Passages in the upper register are generally in a moderate

dynamic range so that the instrument speaks easily. The

technical demands lie well within the grasp of the performer.

At the same time the expansion of the pitch range, the

dynamic range, dexterity in all scale systems, articulation

and varied methods of tone production which characterized

17

the orchestral works of Richard Straussj effected a similar

development in chamber music. The idiomatic usage of the

flute which was begun with J. S. Bach and his contemporaries

in their designation of specific instruments to be used was

already considered to be passe in the early works of Sch6n-

berg. His techniques of composition, embracing atonality

and eventually the twelve-tone system, brought about new

requirements upon the flute which are still a dominating

influence in some contemporary compositions. Among the

flute's new demands were the use of harsh articulations in

all registers, such as extensive flutter-tonguing, and dy-

namic changes from soft to loud in all articulations from

staccato to sostenuto. In this style, which intentionally

sought to avoid tonal relationship, the flute was required

to make much larger intervallic skips than it had previously

experienced. This denial of romantic influences and accom-

panying idiomatic writing developed its maximum impetus

after the end of the First World War.3

1Jaques de Menasce, "Richard Strauss in Retrospect,"The Juilliard Review, I (Spring, 1954), 13: "One knows whatStrauss added to the idiom of these masters frahms andWagner7 at every conceivable level of musical technique . .

2Robert Henderson, "Schonberg and 'Expressionism,'" TheMusic Review, XIX (1958), 127.

Joseph Machlis, Introduction to ConteMorar Music (NewrYork, 1961), p. 158. "The general disillusion that came inthe wake of the First World War impelled artists everywhereto avoid probing or revealing their emotions. . . ."

19

At this time in France the results were similar to

those of the Viennese expressionists in their revolt against

nineteenth-century romanticism as well as the impressionism

of Debussy. The traditionally French characteristic of

clarity of texture tempered the drastic demands upon the

flute, however; this becomes immediately apparent in the

chamber works of Milhaud, Frangaix, Bozza and Poulenc. Here

is found a continuing emphasis upon a maintenance of the

principles of melodic phraseology and persistent dynamic con-

trol, although the melodic lines often have greater curvature,

or angularity, than those of the past romanticists, and wide

skips are employed as in the works of the expressionists.

Extended demands are made upon the dexterity of the flutist

in all of the instrument's registers. The dismissal of

symmetrically-recurring accents and the use of polyrhythms

often results in new complexities for the flute.

At the beginning of the twentieth century an experi-

mentalist movement was underway in the United States, as may

be seen in the works of Charles Ives, but there were no

chamber music works which exerted a drastic influence on the

flute.5 By 1920 the impact of the personages of the music

4Machlis, p. 217.

5Samuel L. Laciar, "Chamber Music," The InternationalCyclopedia of Music and Musicians, 1st ed7~TNew York,192).Although there has been a great deal of chamber music writtenin the United States /In this century there has been nodevelopment of a national idiom."

20

of such radical innovators as Ruggles, Riegger, Cowell, and

Varese began to be reflected in chamber music.

A striving for greater intervallic dissociation, and

the calculation of melodic and rhythmic devices by means of

mathematical formulas coupled with the systems of atonality

and the twelve-tone technique, brought about many develop-

ments for the flute.

A combination of techniques of the twentieth century may

be seen in such American composers as Piston and Barber as

well as their contemporary German-American Hindemith.6 The

flute's ever-expanding technical abilities are called upon

in increasing frequency, and problems of cross-rhythms based

on mathematical formulas become common.

The Chamber Music of Ravel and Debussy

Maurice Ravel (1875-1937) as a student of Faure in

composition of the Paris Conservatory and a winner of the

Prix de Rome was well trained in the techniques of orchestra-

tion and frequently reset his own pianistic works as well as

compositions of others for orchestra.7 In his unique Intro-

duction et allegro (l9O5-1906) there is an illusive, atmos-

pheric opening in which the flute and clarinet are used as

6Colin Mason, "Some Aspects of Hindemith's ChamberMusic," Music and Letters, XLI (1960)., 150.

TRavel's orchestral adaptation of Moussorgskyts pianocomposition Pictures at an Exhibition has become well recog-nized in orchestral literature.

21

a choir in opposition to the timbres of the string quartet.8

The two choirs are seldom used in ensemble, but usually

alternate in support of the solo harp. The flute and clar-

inet are more often used in unison and complement each other

in harmony or limitation when not being employed as solo in-

struments. These two woodwinds are kept in moderate range

and are handled idiomatically. The basic texture of this

composition is felt in the opening bars, in which the flute

and clarinet duet alone then recede into the background

while the string choir states a contrasting motif in unison,

with the harp joining in the fourth bar with a fburish.

The composer's use of dynamics, always building, lessening

or maintaining, may be observed in his opening bars. The

entire work makes use of dynamic variations which seem so

natural or inevitable that one may easily lose sight of the

fact that these effects have been carefully calculated.

Demands upon the flute are well within the instrument's

capacities and are not difficult for the player.

8Maurice Ravel, Introduction et Allego, Pour Hacct. uator a cordes, Flute et Clarinette, Durand & Cie.,

9.Although Debussy is almost invariably considered aprecursor of Ravel, as regards the chamber musia discussedhere a reversed order of treatment seems indicated by thedates of these'chamber works for flute; Debussy's Sonatawas published in 1916, ten years later than the work byRavel.

22

-AC

Fig. 1--Ravel, Introduction et allegro,measures 1-6.

The flute's soft qualities in its lower register have

been delicately handled by limiting the dynamic range to

or pianissimo. The ensemble texture of these points

is usually thin, or the flute is thus used in solo.

In contrast, while maintaining an idiomatic application

of the flute, as Ravel builds the main climax of the piece

the flute goes to B flat, in a melodic passage, with a

dynamic marking of forte.

A r, 1,Fig. 2--Ravel, Introduction et allegro,

measures 308-313.

23

The rapid tremolo between alternating notes which is

given frequently to the members of the woodwind and string

choirs is easily manipulated and rests well within the

mechanical ability of the Boehm flute.

Fig. 3--Ravel, Introduction et ameasures 19-20.

Ravel's knowledge of scoring for the flute makes this

work relatively easy in its performance and is a unique

example of writing which takes full advantage of the flute's

capacities.

Claude Debussy (1862-1915) offers a balance between

the flute and other instruments of restrained dynamic range

in his Sonata (1915) for flute, viola and harp.9 The soft

textures of the three instruments are well complimented in

this work. The rich qualities of the flute's lower register

are used to advantage as may be witnessed in the first move-

ment.

9Claude Debussy, Sonata for flute, viola and harp,Durand & Cie., Paris, 1916.

4ff, e

Fig. S-Debu-ssy, Sonata, First Movement,measures 16-47.

In the "Final" the flute and viola answer each other,

the flute being in its lower register. Because of the

quality of the flute in this register the sonority is of a

rich texture.

V -

icera

Fig. 5--Debussy, Sonata, "Final," measure 15

Debussy's Sonata with its arpeggios, ornamentations,

and runs based on the chromatic and whole-tone scales, makes

use of the acoustically-built flute of Boehm. The Boehm

flute's truer chromatic scale, resulting in abilities to

perform in all keys, is here evident. Debussy, in a sense,

uses the instrument's acoustical qualities as Bach used the

T -

new tempered clavier in compositions which took advantage

of the clavier's abilities to play in all keys.

The general sonority of these three instruments is

enhanced by Debussyts quite restricted use of the flute's

piercing upper register, thus maintaining a balance of

textures. This restraint is evident throughout the composi-

tion. The trio, while pleasing to the listener, lacks by

its style and combination of instruments the ability to add

climax via intensity.

The Chamber Music of Schnberg and Webern

The new musical aesthetics of expressionism (incorpo-

rating a denial of releases of inner emotion and thought)

were distinctly felt early in the twentieth century. This

approach to music expanded the flute's role in chamber

music, and brought about developments which are still cur-

rent. Not only are these typical techniques found in the

works of Arnold Sch5nberg and his pupils, such as Webern,

but in those of many contemporary composers as well.

The theoretical principles expounded by Sch6nberg

(1874-1951), including "atonality" and the twelve-tone tech-

nique, have since their development exercised a significance

in guidance of contemporary composition which quite com-

pletely eclipses the importance of Sehnberg's own works;

the new approaches were drastic and extensive in their po-

tentials for future explorations. The reasons for these

26

changes rest in his abandonment of major-minor tonality.

The cohesive element of his music was dissonance, which

received the same standing.10 These changes in respect to

the flute were: () unusual intervallic leaps, (2) the

extensive doubling of piccolo in chamber music, (3) monoto-

nous use of articulations such as flutter-tonguing, (4)

glissandos, (5) dynamic demands which were previously con-

sidered uncharacteristic of the instrument. Early examples

of these demands may be observed in Pierrot Lunaire, a

song cycle with instrumental accompaniment which was per-

formed in Berlin in 1912 after some forty rehearsals.12

The employment of intervals of unusual width in consec-

utive use may be found in "Ein blasse Wascherin," the fourth

song in Pierrot Lunaire. These are employed at the same time

in the clarinet and viola while the spoken song progresses

in smaller intervals.

1 0 H. H. Stuckenschmidt, Arnold Schnber, translatedby Edith Temple Roberts and Humphrey Searle New York,1959), p. 66.

1 1 Arnold Sch~nberg, Pierrot Lunaire, Associated MusicPublishers, Inc., New York, 1914.

12"Sch6nberg," Baker's Biographical Dictionary ofMusicians, 5th ed. (New York, 1958).

27

t d 'A T 1T

"V ItiA jj "Z' jWfL;, # T ~ I

imer

Fig. 6--Schonberg, Pierrot Lunaire, "Ein blasseWascherin," measures b-7.

The piccolo had long been employed as an orchestral

instrument as well as serving as a "double" for dramatic

purposes. Schonberg's extensive utilization of the piccolo

here is unique. The range is extended to C in "Galgen-

lied," the twelfth song in the cycle.

*4) f 4V .U 1

Fig. 7--Schbnberg, Pierrot Lunaire, "Galgenliedtt

measures 12-K13.

In Schonberg's search for unusual effects flutter-

tonguing is frequently called upon throughout this work.

In the following example from "Heimfahrt," the twentieth

song of the cycle, it is demanded that the flute use

flutter-tonguing in its lower register, with the foot ex-

tension allowing the articulation to proceed to the flute's

low B.

L7FEW

"I jls

o- - rm- i!mm __-, V,,- rITY f, 'r I f, t , rt

A,&!

loop

28

Fia++erz ovi.

ja 7-1 1 Im log Mw,

MIN

0 Ao

Pig. 8--schbnberg, Pierrot Lunaire,"Heimfahrt,tt measure 11.

The glissando had previously been considered better

handled by the instruments of the violin family. In "Heim-

fahrt" it is allotted to the flute. This occurs during a

point of rest for the spoken song, and may be considered a

technique employed to continue the line of undefined pitch

used in the melody.

Fig. 9.-Schbnberg, Pierrot Lunaire,"Heimfahrt' measure 7.

The extension of the range of the flute to O'''I has

often been avoided due to its poor intonation and difficulty

in production in any volume except forte or fortissimo.

Schnberg uses this note in a pianissimo passage as follows:

29

Fig. 10--Sch~nberg, pierrot Lunaire,"Colombine," measures 38-39.

In a continuation of this anomaly, the low register,

conventionally expected to be heard only in piano and

pianissimo, is requested in forte.

Schonberg's extension into atonal harmonies was culmi-

nated in 1922 by his declaration of the principles of his

twelve-tone technique. 1 3 His Qunitet for Woodwinds, Op. 26,

written in 1924, comprehends this technique but closely

approaches the character of the classical sonata in form.

This work was first conducted by Anton Webern,15 who along

with others of Schonberg's students adopted his system.

Anton von Webern (1883-1945) is marked by his miniature

compositions in the pointillist concept, 16 utilizing the

twelve-tone technique. His use of the flute, as well as

other instruments, is dominated by his succession of pure,

13Stuckenschmidt, p. 82. 14 Ibid., p. 89.

15Ibid., p. 90.

16on the concept of Webernts style Stravinsky remarked:he inexorably kept on cutting out this dazzling dia-

monds, of whose minds he had such a perfect knowledge,"Machlis, p. 384.

..............

30

almost isolated tones which attain value through their

qualities of timbre. 1 7 Each note or motif is a unit within

itself, its individual character marked by its own volume,

pitch, and duration. Harmonic concepts are all but obliter-

ated, and single motifs are extremely brief.

Wide intervallic leaps have become an identifying com-

ponent in his compositions, giving individuality to each

note or motif. This may be witnessed in Konzert1 for

nine instruments.

Fig. lI--Webern, Konzert, First Movement,measures 1-2.

As in the works of Schbnberg, flutter-tonguing is

extensively employed, an articulation which became common

in a search for unusual sounds,

1 7Adolfo Salazar, Music in Our Times, translated byIsabel Pope (New York, 1946Tp Il.

lOAnton von Webern, Konzert for flute, oboe, clarinet,horn, trumpet, violin, viola, and piano, Wein, UniversalEdition, 1948.

31

Ak/

Fig. 12--Webern, Konzert, First Movement,measures 21-22.

As each note has a definite quality in pitch it is

also given character by volume. Webern's compositions are

distinctive in their constant flow of dynamic variations.

Fig. l3--webern, Konzert, First Movement,measures 38-39.

Just as single notes are assigned values in pitch,

duration, and volume, so are motifs. The following example

is of such a motif in the flute's lower register.

Fig. 14,--Webern, Konzert, Third Movement,measures 14-15.

32

The Chamber Music of Milhaud, Bozza,Franpaix, and Poulenc

At the end of the First World War the new generation

of French composers determined to build a new school of

nationalistic music divorced from the romantic concept.

The role which the French assigned to the flute in chamber

music allowed it to retain its idiomatic functions, in

contrast to the prevailing harsh demands made upon the in-

strument by the young Viennese school.

The French preferences for flowing melodic lines,

rhythmic devices (often of a folk-like quality), and weaving

dynamic contrast to allow each instrument to speak with its

own individual tone color, extended into this new generation

of French composers.

In the works of Milhaud may be observed a typically

French clarity of melody and desire to allow each instrument

to speak unobstructed. An incorporation of the flute's in-

creased capabilities embodied in the new French technique

may be observed in the vigorous compositions of Bozza, Fran-

7aix, and Poulenc.

Darius Milhaud (1892- ) in his woodwind quintet La

Chemine'e Dou i Rene, 1 9 originally composed as background

19Darius Milhaud, La Cheminee Du Roi Rene" for woodwindquintet, Cincinnati, Albert Andraud Wind Instrument MusicLibrary, 1942.

33

music for a movie film20 and later transcribed for woodwind

quintet, exhibits the French inclination for melodic impora-

tance. "Cortege," the first of the seven descriptive pieces,

opens with the melody in the oboe accompanied by the horn

and bassoon, continuing into the tenth bar in which the

melody is handed to the flute.

Fig. 15--Milhaud, La Cheminee Du Roi Rene,"Cortege," measures

The melody conveys a modal feeling, with its brief

references to tonal centers rapidly shifting to different

keys. This is common to Milhaud's use of polytonality. 2 1

2 Darius Milhaud, Notes Without Music, translated byDonald Evans and Arthur Ogden (New York, 1953), p. 241.

2 1 Leon Dallin, Techniques of Twentieth-Centur Composi-tion (Dubuque, 1957),7Po712F. . . the term polytonalityis commonly applied only when two or more tonal centers arerather clearly apparent. . . . Milhaud was an early exponentof polytonality, and it appears extensively in his works."

34

Milhaud often extends his melodies into the upper

register of the flute, as may be witnessed in his composition

for woodwind quintet, Two Sketches,2 2 offering an opportunity

to expose the instrument's individual tone color.

Fig. 16--Lilhaud, Two Sketches, "Madrigal,"tmeasures 29-30.

Milhaud use s polyrhythms2 ext ensively. in both La Cherni-

n6.e Du _Rbi _Rena and Two Sketches. In the sixth p ieee of L

Chemin6e IDi Roi Rene, "Chasse & Valabre," the composer over-

laps two melodies, each with its own distinctive rhythm.

The flute here is required to double piccolo.

Fig. 17--I ilhaud, La Cheinin6e Du foi Ren ,"Chasse A Valabre," measures 10-12.

2Darius Milhaud, Two Sketches, for woodwind quintet,New York, Mercury MusicCorporation, 1941.

23"?olyrhythm," Harvard DiAtoary _of Music, 12th ed.(Cambridge, 19S0): "The simultaneous use of striking con-trasting rhythms in different parts of the metrical fabric,also known as cross-rhythms .b"

Another rhythmic device, offering the flute some of

its more interesting technical and rhythmic material, is

that of changing the underlying rhythm while maintaining

the basic metrical structure.

-t

Fig. I8--w'IVilhaud, Two Sketches, "Pastoral,"measures 17-20.

Eugene Bozza (l905- ) in his Shro frwown

quintet, avails himself of the flute'is articulative abilities

in chromatic figurations as well as in chordal and scale-like

passages. Bozza weaves delicate color textures by dynamic

contrasts and the employment of extreme ranges or the various

instrumental.

2lIggsne Bozza, Scherzo for woodwind quintet, Paris,

Alphonse Leduc et Cie. , l91415.

I

fluk

36

The Scherzo opens with the flute in a solo passage,

playing a triplet sixteenth-note figure, beginning on the

flute's low E in piano. This phrase is echoed by the clari-

net in the second measure, and in the third measure is re-

turned to the flute, thus setting the mood and basic rhythmic

structure of the composition.

6

Fig. 19--Bozza, Scherzo, measures 1-3

Bozza takes full advantage of the flute's technique in

its upper register, as may be observed in Figure 20. Diffi-

culties such as these often occur in cross-fingering found

in alternating chromatic passages in this register.

Fig. 20--Bozza, C zo, measures 11-119

Jean Frangaix (1912- ) richly cultivates the flute's

many capacities in his varied woodwind chamber music

37

ensembles from trio to quintet. In his Qotetter25

woodwind quintet, an imposing and driving composition, the

flute is called upon to perform sequences of arpeggios over

an extended period of time. Melodic opportunities, though

brief, are based on wide intervallic skips, characteristic

of melodic dissociation. Technical and rhythmic problems

are found in abundance, particularly in his syncopations

and the unusual rhythmic qualities of his various melodies.

Chordal sequences, often extending to three octaves,

are repeated for fifty-six measures at the beginning of the

fourth movement. These sequences, oscillating between the

flute and the clarinet, act as the accompaniment for a light

melody played by the other instruments of the quintet.

Fig. 21.--Franpaix, Qunete Fourth Movement,measures 5-6.

2Jean Franpaix, Quintette ror woodwind quintet, Mainz,B. Schottt s S~5hne, 1951.

38

The first movement opens with the solo in the horn

while the flute plays an accompaniment part in pianissimo

in its lower register, extending to low C. The flute plays

in unison with the horn in the seventh measure, the melody

being based on such intervals as to create melodic dissocia-

tion.

Fig. 22--Frangaix, uintette, First Movement,measures 7-10.

Francis Poulenc (1917- ) in his Sextour26 for piano

and woodwind quintet makes use of many of the percussive

effects of the expressionist while maintaining a structural

balance, its basic elements being composed of chordal and

scale-wise materials.

The first two measures of the introduction are composed

of broad sweeps beginning in the piano and echoing through

the woodwinds. The flute enters in the third measure with

an angular melody which is quite percussive, due to its

fortissimo volume and accents. The melody is then followed

by a chromatic run in the flute which is flutter-tongued.

26 Francis Poulenc, Sextour for woodwind quintet andpiano, Copenhagen, Wilhelm Hansen Edition, 1945.

39

This opening passage is characteristic of the composer's

ensuing demands.

Fig. 23--Poulene, Sextour, measures 3-5

The articulation of flutter-tonguing is used extensively

throughout the composition, reminiscent of its employment by

Schonberg. Percussive devices are frequent, these being

created most often by strong attacks in the upper register.

Fig. 21.--Poulene, Sextour, measures 256-257

The composer assigns the flute's lower register a dynam-

ic volume of forte in a melodic passage, with the specifica-

tion "intense." While this is a demand which is often

dangerous to a performance considering the flute's negative

-- g Emil

40

response in this register and the heavy quality of the

combination of piano and other wind instruments, Poulenc

wisely at this point keeps the orchestration light to allow

the flute to speak with less accompanying obstruction.

The Chamber Music of Cowell and Riegger

Henry Cowell (1898- ) in his Suite27 for woodwind

quintet exhibits his experimentalistic innovations28 and

offers many problems for the flute. The first movement con-

sists of arpeggios and motives passing between members of

the winds, offering little in technical or rhythmic demands,

but the second movement opens with a bright melody which

rapidly passes from one instrument to another, resulting in

rhythmic problems owing to the melody's rapid oscillation.29

Often the flute is required in this movement to play a group

of four sixteenth notes as the melody passes between the

27Henry Cowell, Suite for woodwind quintet, New York,Merrymount Music Press,1949.

28Hugo Weisgall, "The Music of Henry Cowell," MusicalQuart~erl, XLV (1959), 484: "One cannot point to anothercomposer on the American scene who has submitted himself withsuch confidence to the entire gamut of musical experience andwho has created such an impressive amount of work embodyingso many different kinds of musical ideas, techniques, andsounds.t"

29 Weisgall, p. 481. "Zdowe1lsj7 book New MusicalResources, written in 1919 and revised somewhat for publica-tion in 1929, is the theoretical exposition of the possibili-ties for orderly development of rhythmic structures inrelation to melodic and harmonic ones. The basis of therelationship lies in the vibration ratios expressed in theovertone series. . .. "

'r,", -- --- I- MUOFMWX., -4- , -* -- *

41

other instruments. This occurs many times, frequently begin-

ning in a three-four measure and extending into a four-four

measure.

Fig. 2-Cowell, Suite, Second Movement,measure !5.

Although the fourth movement rests well within the

range of the flute it becomes more challenging as the tempo

accelerates. This accelerando accompanied by a crescendo

poco a goc~ al Line presses the performers to their fullest

capacity toward the end of the composition.

Wallingford Riegger (l885- ) in his Blsserguintett30

demonstrates his search for the unusual in composition with

results for the flute which are complicated in some of their

technical aspects as well as allowing the instrument in some

30Wallingford Riegger, Blaserquintett for woodwindquintet, Wien, Ars Viva Verlag Hermann Scherchen, 1952.

cases to perform in a more normal capacity in its articula-

tions.31 Although the technical demands are numerous,

Riegger's use of chromatic runs, sequences, and repeated

motifs, in contrast to the more stringent advocates of the

twelve-tone technique,32 adds to the ease of the performance

for the flute.

Fig. 26--Riegger, Bl~serquintett,

measures 54-56.

It is often difficult to misinterpret the composer's

use of the flute as a percussive instrument. Usually

Riegger is careful in his perception of dynamic range in

relation to the various registers to allow the flute to

speak with more ease.

31Henry Cowell, "A Note on Wallingford Riegger," TheJuilliard Review, II (Spring, 1955)$, 4. "There is athirteen-tone row in Dichotom; the last movement of hisSuite for flute alone employs a thirty-six tone row usingeach tone within the range of the flute as a separate entity."

32 Ernest KYfenek, Studies in Counterpoint Based on theTwelve-Tone Technique (New York, 1940).

Fig. 27--Riegger, Blaserquintett,measures 20-23.

Walter Piston (1894- ) in his composition Quintet

for flute and string quartet33 offers an unusual and colorful

combination of this ensemble. The flutes individual tone

color and ability to contrast are used distinctively in this

composition.

The flute is often voiced as a member of the string

quartet. Its tonal difference is also used to advantage

in melodic passages in which the flute is voiced above the

strings. Occasionally it is used at points which allow its

solo abilities to enhance the general sonority by allowing

it, in contrast, to play alone.

Fig. 28--Piston, Quintet, First Movement,measures 20-23.

33 Walter Piston, quintet for flute and string quartet,New York, Arrow Music Press, Inc., 1946.

4

In accordance with Piston's style the flute is called

upon to perform many passages involving difficulties in

syncopation.

116 -

Fig. 29--Piston, quintet, Fourth Movement,measures 139-141.

Paul Hindemith (1895- ) in his composition Septett

fir Blasinstrumente, 4 conveys many of the techniques which

are now considered normal to the flute in chamber music

literature at the middle of the twentieth century. In the

composer's conservative style the flute parts are so idio-

matically contrived that they rest well within the limits

of the instrument. These works, while embodying many of the

techniques of the expressionist, are typical of the dexterity

which is required of the modern flutist.35 Hindemith is

normally cautious in his assignment of the volume range of

the flute in its various registers. Usually the composer

allots the flute a soft dynamic range in its lower register;

34 Paul Hindemith, Septett fir Blasinstrumente, London,Edition Schott, 1949.

35Mason, "Some Aspects of Hindemith's Chamber Music,"Music and Letters, XLI (1960)p, 150.

in the upper register, to allow the instrument to speak more

freely, a louder volume is employed. In the following ex-

ample the flute, in p plays in unison with the clarinet

in an accompaniment figure while the melody is played in the

oboe.

Fig. 30--Hindemith, Septett, First Movement,measures 72-73.

In the second movement "Intermezzo" 36 the flute plays

a light motif beginning on the flute's F sharp''' in a mezzo

forte range crescendoing to a forte volume.

Fig. 31--Hindemith, Septett, Second Movement,measures14-16.

36 Ibid.,p. 150: "Hindemith repeats this device (cyclicform) in~the Septet for wind instruments, also in five move-ments, the fourth of which is the cancrizans of the second."

The remainder of the composition while making many

demands of dexterity is typical of the technical requirements

at this time.

Samuel Barber (1910- ) in his composition Summer

Music for woodwind quintet37 exemplifies the characteristics

of the virtuoso quintet as well as the virtuoso flutist and

other instrumentalists at the middle of the twentieth cen-

tury. Due to the complexities of this composition it is

seldom performed except by virtuoso groups.

Summer Music embodies the range of finger dexterity,

rhythmic complexities, and organizational discipline which

is required of the flutist in chamber music of our time.

The flute opens the second bar with a flourish giving

first evidence of the technical demands which ensue; immedi-

ately following are similar passages in the clarinet and

bassoon.

Fig. 32--Barber, Summer Music, measure 2

37Samuel Barber, Summer Music for woodwind quintet,New York, G. Schirmer, 7.

47

Although the flute experiences many changes of tempo

and meter the following example is one of the more chal-

lenging and at times this rhythmic figure is further compli-

cated by sweeps of ten thirty-second notes to three sixteenth

notes.

Fig. 33--Barber, Summer Music, measures 38-40

Later (see circle 28 in the score) additional requests

are made of the flute as well as organizational discipline

by technical and rhythmic demands. The flute encounters

sweeps of thirty-second notes, ten to a beat, while the

other members of the organization play two eighth notes to

the beat, quarter notes, and eight thirty-second notes;

eventually is added to this combination a figure of six

eighteenth notes to the beat.

One of the features of contemporary experimentalism is

the combination of the flute with electronic instruments as

well as other orchestral instruments. On the subject of the

38electronic music, Eliott Carter has this to say,

38Eliott Carter, "Shop Talk by an American Composer,"Music &uarterly, XLVI (April, 1960), 198.

I must say that all that I have heard electronicmusic seems to me to be in a primary stage, and hasnot resolved some fundamental problems of matchingand comparison that would raise it above the physicalscariness that makes this musie useful for televisionscience fiction and horror programs.

In contrast Roger Sessions says,39

It is evident with this movement that composers arebeginning to feel the need for new instruments. Theexisting ones, for all their technical perfection,are beginning at times to seem vaguely obsolete asfar as some of the composers' musical ideas are con-cerned. The possibilities electronic music suggestsare altogether likely to make this situation more acute.

These innovations may be witnessed in the works of Boulez

and Stockhausen, such as the former's p Music in which

the role of the flute is only for effect with no melodic

designs.

Much work is being done in improvisation, foremost in

this area being the Californian Lukas Foss. It would seem

that these new techniques might offer in the future new po-

tentialities for the flute.

It may be considered by some that the flute has reached

its summit in chamber music, but as Schonberg has said,

"There is still much great music to be written in the key

of C."

39Roger Sessions, "Problems and Issues Facing the Com-poser Today," Musical Quarterl , XLVI (April, 1960), 170.

BIBLIOGRAPHY

Books

Baines, Anthony, Woodwind Instruments and Their History,New York, W. W. Norton and Company, Inc., 1957.

Bauer, Marion, and Peyser, Ethel R., Music Through the Ages,New York, G. P. Putnam's Sons, 1932.

Cervantes, Miguel de, Don Quixote de La Mancha, translatedby Walter Starkie, New York, The New American Library,1960.

Dallin, Leon, Techniques off Twentieth-Centu Composition,Dubuque, Wm. C. Brown Company, 1957.

Ferguson, Donald N., A History off Musical Thought, New York,3rd. ed., Appleton Century Crofts, 1999

Finney, Theodore M., A History of Music, New York, HarcourtBrace and Company, 1935.

Galpin, Francis W. A., A Textbook off European MusicalInstruments, Their Origin, Hist , and Character,London, Williams and Northgate Limited, 1939.

Geiringer, Karl, Musical Instruments, translated by BernardMiall, New York, Oxford University Press, 1945.

Kienek, Ernest, Studies in Counterpoint Based on the Twelve-Tone Technq. New York, G. Schirmer, Inc.,19[.

Machlis, Joseph, Introduction to Conteaporary Music, NewYork, W. W. Norton and Company, Inc., 1961.

Milhaud, Darius, Notes Without Music, translated by DonaldEvans and Arthur Ogden, New York, Alfred Knopf Publisher,1953.

Reese, Gustave, Music in the Renaissance, Revised Ed.,New York, W. W. Norton and Company, Inc. , 1959.

49

Rowen, Ruth, Early Chamber Music, New York, King's CrownPress, 1949

Sachs, Curt, The History of Musical Instruments, New York,1st. ed., W. W. Norton and Company, Inc., 1940.

Salazar, Adolph, Music in our Times, translated by IsabelPope, New York, W. W. Norton and Company, Inc., 1946.

Stuckenschmidt, H. H., Arnold Schonberg, translated byEdith Roberts and Humphrey Searle, New York, Grove'sPress, Inc., 1959.

Articles

Carter, Eliott, "Shop Talk by an American Composer," Musicquarterly, XLVI (April, 1960), 159-171.

Cowell, Henry, "A Note on Wallingford Riegger," The JuilliardReview, II (Spring, 1955), 53-55.

Henderson, Robert, "Schbnberg and 'Expressionism,'" TheMusic Review, XIX (1958), 125-129.

Mason, Colin, "Some Aspects of Hindemith's Chamber Music,"Music and Letters, XLI (1960), 150-155.

Menasce, Jaques de, "Richard Strauss in Retrospect," TheJuilliard Review, I (Spring, 1954), 10-17.

Sessions, Roger, "Problems and Issues Facing the ComposerToday," Musical Quarterly, XLVI (April, 1960), 159-171.

Weisgall, Hugo, "The Music of Henry Cowell," MusicalQuarterly, XLV (1959), 484-507.

Encyclopedia Articles

Cobbett, Walter, "Flute," Cobbett's Cyclopedic Survey ofChamber Music, Vol. I, London, Oxford University Press,1929.

Fitzgibbon, H. M., "Quantz," Cobbett's Cyclopedic Survey ofChamber Music, Vol. II, London, Oxford University Press,1930.

Fleury, Louis, "The Flute in Modern Chamber Music," CobbetttsCyclopedic Survey of Chamber Music, Vol. I, London,Oxford University Press, 1929.

"Flute," Grove's Dictionary of Music and Musicians, 5th ed.,Vol. III, New York, The Mac~iillan Company, 1954.

"Flute," Harvard Dictionary of Music, 12th ed., Cambridge,Harvard Press, 1950.

"Hotteterre," Baker's Biographical Dictionar of Musicians,5th ed., New York, G. Schirmer, Inc., 1956.

Laciar, Samuel L., "Chamber Music," The InternationalCyclopedia of Music and Musicians, 7th ed., edited byOscar Thompson, New York, Dodd, Mead and Company, 1956.

"Polyrhythm," Harvard Dictionary of Music, 12th ed.,Cambridge, Harvard Press, 190.

"Schonberg," Baker's Biographical Dictionary of Musicians,5th ed., New York, G. Schirmer, Inc., 197.

Unpublished Materials

Gibson, 0. Lee, "The Serenades and Divertimenti of Mozart,"unpublished doctoral dissertation, School of Music,North Texas State University, Denton, Texas, 1960.

Music

Barber, Samuel, Summer Music for woodwind quintet, Op. 31,New York, G. Schirmer,1957.

Bozza, Eughne, Scherzo for woodwind quintet, Op. I8, Paris,Alphonse Leduc and Cie., 1944.

Cowell, Henry, Suite for woodwind quintet, New York, Merry-mount Music Press, 1949.

Debussy, Claude, Sonata for flute, viola and harp, Paris,Durand and Cie., 1916.

, Syrinx for flute alone, Paris, Jean Robert,1927.

Franqaix, Jean, Quintette for woodwind quintet, Mainz,B. Schott's S6hne, 1951.

Hindemith, Paul, Septett fr Blasinstrumente, London, EditionSchott, 1949.

Milhaud, Darius, La Chemin6e Du Roi Ren6 for woodwindquintet, Cincinnati, Albert Andraud Wind InstrumentMusic Library, 1942.

, Two Sketches for woodwind quintet, New York,Mercury Music Corporation, 1941.

Piston, Walter, Quintet for Flute and Stn quartet, NewYork, Arrow Music Press, Inc., 1946

Poulenc, Francis, Sextour for woodwind quintet and piano,Copenhagen, Wilhelm Hansen Edition, 1945.

Ravel, Maurice Introduction and Allegro, Paris, Durand andCie., 190.

Riegger, Wallingford, Blaseruintett for woodwind quintette,Op. 51, Wien, Ars Viva Verlag Hermann Scherchen, 1952.

Sch6nberg, Arnold, Pierrot Lunaire, Op. 21, New York,Associated Music Publishers, Inc., 1914.

Webern, Anton von, Konzert, Op. 24, Wien, Universal Edition,1948.