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Canadian Music for Flute and Piano Dr. Jennifer Brimson Cooper ...

Canadian Music for Flute and Piano Dr. Jennifer Brimson Cooper ...

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Sonata <strong>for</strong> <strong>Flute</strong> <strong>and</strong> <strong>Piano</strong> Srul Irving Glick (1934-2002)<br />

Ontario region composer, Srul Irving Glick (1934-2002) primarily studied composition with Ontarian<br />

composer, John Weinzweig, but was also exposed to the works of Darius Milhaud <strong>and</strong> Max Deutsch during brief<br />

periods of study. Glick’s works are best known <strong>for</strong> their lyrical melodic writing, tonal thematic language <strong>and</strong><br />

range of tone color. His works have been heavily influenced by immigration, demonstrating the use of British<br />

folk-like <strong>and</strong> jig melodies <strong>and</strong> a lyrical ballad style of writing. Many of his works also bear a strong association<br />

with nature, <strong>and</strong> he is known <strong>for</strong> his inclusion of Jewish melodies within his compositions. These are all apparent<br />

in his Sonata <strong>for</strong> <strong>Flute</strong> <strong>and</strong> <strong>Piano</strong> (1981). Within the work Glick exploits lyricism <strong>and</strong> chromatic harmony<br />

illustrative of a Neo-Romantic style yet creatively employs it within a Neo-Classical framework. This infusion of<br />

Neo-Romantic <strong>and</strong> Neo-Classical contexts in Glick’s Sonata <strong>for</strong> <strong>Flute</strong> <strong>and</strong> <strong>Piano</strong>, echoes that of Baker’s Sonata<br />

<strong>for</strong> <strong>Flute</strong> <strong>and</strong> <strong>Piano</strong>, op.2.<br />

Aria, op. 27 Jacques Hétu (1938-2010)<br />

Jacques Hétu is one of Canada’s most prolific composers. Based in the Quebec region, he wrote in a<br />

variety of genres including solo, chamber <strong>and</strong> orchestral repertoire. His music has been directly influenced by the<br />

French style; much of his flute repertoire echoes the music of Olivier Messiaen, <strong>and</strong> Henri Dutilleux having been<br />

exposed to their French compositional stylistic guises during his studies with them in France in the early 1960’s.<br />

Hétu’s approach to writing <strong>for</strong> flute <strong>and</strong> piano includes a variety in articulation, creative use of range <strong>and</strong> dynamic<br />

contrasts, <strong>and</strong> an endless range of tone color <strong>and</strong> expression. His Aria, opus 27, is best described within a Neo-<br />

Romantic context in its tonal ambiguity, rich chromatic dissonance, linear musical motives with large leaps, <strong>and</strong><br />

intimate interaction between the solo flute <strong>and</strong> piano lines.<br />

Sonata <strong>for</strong> <strong>Flute</strong> <strong>and</strong> <strong>Piano</strong>, op. 2 Michael Conway Baker (b. 1937)<br />

Michael Conway Baker (b. 1937) is a <strong>Canadian</strong> composer of American birth based in Western Canada.<br />

His music is best characterized in terms of jazz <strong>and</strong> popular style melodies representative of the American West<br />

Coast. Western <strong>Canadian</strong> region stylistic traits found in his Sonata <strong>for</strong> <strong>Flute</strong> <strong>and</strong> <strong>Piano</strong> include idiomatic<br />

instances of jazz <strong>and</strong> popular style lyrical melodic lines; other regional stylistic traits demonstrate evidence of folk<br />

song influence. His Sonata <strong>for</strong> <strong>Flute</strong> <strong>and</strong> <strong>Piano</strong> demonstrates basic theme development with use of folk <strong>and</strong><br />

ballad-style melodic writing. Stylistic guises of both Neo-Classical <strong>and</strong> Neo-Romantic movements are evident in<br />

this work. Baker further exploits the Neo-Classical idiom in his Sonata <strong>for</strong> <strong>Flute</strong> <strong>and</strong> <strong>Piano</strong> in his <strong>for</strong>mal plan -<br />

the work is divided into the st<strong>and</strong>ard three-movement Classical framework of fast-slow-fast.

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