This concert is free to view online and on Walnut Creek TV.
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THIS CONCERT WILL BEGIN AT 7PM.
JOIN US 30 MINUTES EARLIER FOR THE PRE-CONCERT TALK AT 6:30PM.
What’s Interesting About This Concert
- Cool vibrations abound in this FREE virtual concert featuring music that spans three centuries. Join 30 minutes ahead of the concert to hear Maestro Cabrera in conversation with soloist Robyn Bollinger and California Symphony featured artists.
- Full of Hungarian folk harmonies, Bartók’s violin sonata is famously difficult. There are parts where the soloist has to pluck and bow at the same time; sections with several notes played simultaneously, and a fiendishly fast passage that was originally written in quarter-tones.
- An all-star California Symphony Wind Quintet—Laura Reynolds (oboe), Stacy Pelinka (flute), Stephen Zielinski (clarinet), Carla Wilson (bassoon) and Meredith Brown (French horn)—performs Afro-Caribbean and jazz infused pieces from Aires Tropicales by Cuban-born American composer Paquito D’Rivera.
This concert is made possible by California Symphony donors, with additional support from a CARES Act grant from the National Endowment for the Arts (NEA).
Paquito D’RiveraAires Tropicales
Early life and education
Paquito Francisco D'Rivera was born in Havana, Cuba. His father played classical saxophone, entertained his son with Duke Ellington and Benny Goodman records, and he sold musical instruments. He took D'Rivera to clubs like the Tropicana (frequented by his musician friends and customers) and to concert bands and orchestras.
At age five, D'Rivera began saxophone lessons by his father. In 1960 he attended the Havana Conservatory of Music, where he learned saxophone and clarinet and met Chucho Valdés. In 1965, he was a featured soloist with the Cuban National Symphony Orchestra. He and Valdés founded Orchestra Cubana de Musica Moderna and then in 1973 the group Irakere, which fused jazz, rock, classical, and Cuban music.
By 1980, D'Rivera had become dissatisfied with the constraints placed on his music in Cuba for many years. In an interview with ReasonTV, D'Rivera recalled that the Cuban communist government described jazz and rock and roll as "imperialist" music that was officially discouraged in the 1960s/70s, and that a meeting with Che Guevara sparked his desire to leave Cuba. In early 1980, while on tour in Spain, he sought asylum with the American Embassy, leaving his wife and child behind, with a promise to bring them out of Cuba.
Upon his arrival in the United States, D'Rivera found great support for him and his family. His mother, Maura, and his sister, Rosario, had left Cuba in 1968 and became US citizens. Maura had worked in the US in the fashion industry for many years, and Rosario had become a respected artist/entrepreneur. He was introduced to the jazz scene at some prestigious clubs and concert halls in New York. He became something of a phenomenon after the release of his first two solo albums, Paquito Blowin' (June 1981) and Mariel (July 1982).
In 2005, D'Rivera wrote a letter criticizing musician Carlos Santana for his decision to wear a T-shirt with the image of Che Guevara on it to the 2005 Academy Awards, citing Guevara's role in the execution of counter-revolutionaries in Cuba, including his own cousin.
D'Rivera has performed in venues such as Carnegie Hall and played with the National Symphony Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, Florida Philharmonic Orchestra, Bronx Arts Ensemble, Puerto Rico Symphony Orchestra, YOA Orchestra of the Americas, Costa Rica National Symphony, American Youth Philharmonic, and Simón Bolívar Symphony Orchestra.
Throughout his career in the United States, D'Rivera's albums have received reviews from critics and have hit the top of the jazz charts. His albums have shown a progression that demonstrates his extraordinary abilities in bebop, classical and Latin/Caribbean music. D'Rivera's expertise transcends musical genres as he is the only artist to ever have won Grammy Awards in both Classical and Latin Jazz categories.
D'Rivera was a judge for the 5th and 8th annual Independent Music Awards to support independent artists.
Paquito D'Rivera Quintet
The band backing D'Rivera consists of Peruvian bassist Oscar Stagnaro, Argentinean trumpeter Diego Urcola, American drummer Mark Walker, and pianist Alex Brown. As a whole they are named the "Paquito D'Rivera Quintet" and under this name they were awarded the Latin Grammy Award for Best Latin Jazz Album for the album Live at the Blue Note in 2001.
Honors and awards
- 2003 Doctorate Honoris Causa in Music, Berklee College of Music
- 2004 Clarinet of the Year Award, Jazz Journalists Association
- 2005 NEA Jazz Masters
- 2005 National Medal of Arts
- 2006 Clarinet of the Year, Jazz Journalists Association
- 2007 Composer in Residence, Caramoor Center for Music and the Arts
- 2007 Fellowship Award for Music Composition, Guggenheim Foundation
- 2007 Living Jazz Legend Award, The Kennedy Center and The Catherine B. Reynolds Foundation Series for Artistic Excellence
- 2008 President's Award, International Association for Jazz Educators
- 2012 Honorary Doctoral Degree, State University of New York at Old Westbury
- 1979 Irakere, Best Latin Recording – 22nd Annual Grammy Awards
- 1996 Portraits of Cuba won Best Latin Jazz Performance – 39th Annual Grammy Awards
- 2000 Tropicana Nights won Best Latin Jazz Album – 1st Annual Latin Grammy Awards
- 2001 Live at the Blue Note – won Best Latin Jazz Album – 2nd Annual Latin Grammy Awards
- 2003 Historia del Soldad won Best Classical Album – 4th Annual Latin Grammy Awards
- 2003 Brazilian Dreams won Best Latin Jazz Album – 4th Annual Latin Grammy Awards
- 2004 "Merengue" won Best Instrumental Composition – 47th Annual Grammy Awards
- 2008 Funk Tango won Best Latin Jazz Album – 50th Annual Grammy Awards
- 2011 Panamericana Suite won Best Classical Contemporary Composition - 12th Annual Latin GRAMMY Awards
- 2011 Panamericana Suite won Best Latin Jazz Album – 12th Annual Latin Grammy Awards
- 2013 Song For Maura won Best Latin Jazz Album, Paquito D'Rivera with Trio Corrente, 56th Annual GRAMMY Awards
- 2014 Song for Maura won Best Latin Jazz Album, Paquito D'Rivera with Trio Corrente, 15th Annual Latin GRAMMY Awards
- Blowin (Columbia, 1981)
- Mariel (Columbia, 1982)
- Live at Keystone Korner (Columbia, 1983)
- Why Not! (Columbia, 1984)
- Explosion (Columbia, 1986)
- A Tribute to Cal Tjader (Yemaya, 1986)
- Manhattan Burn (Columbia, 1987)
- Celebration (Columbia, 1988)
- Tico! Tico! (Chesky, 1989)
- Return to Ipanema (Town Crier, 1989)
- Reunion (Messidor, 1991)
- Havana Cafe (Chesky, 1992)
- Who's Smoking?! (Candid, 1992)
- La Habana-Rio-Conexion (Messidor, 1992)
- Paquito D'Rivera Presents 40 Years of Cuban Jam Session (Messidor, 1993)
- A Night in Englewood (Messidor, 1994)
- Portraits of Cuba (Chesky, 1996)
- Live at Manchester Craftsmen's Guild (MCG, 1997)
- Hay Solucion (BMG, 1998)
- 100 Years of Latin Love Songs (Heads Up, 1998)
- Tropicana Nights (Chesky, 1999)
- Habanera (Enja, 2000)
- The Clarinetist Volume One (Peregrina, 2001)
- Brazilian Dreams (MCG, 2002)
- Este Camino Largo (Yemaya, 2002)
- The Lost Sessions (Yemaya, 2002)
- Big Band Time (Pimienta, 2003)
- The Jazz Chamber Trio (Chesky, 2005)
- Benny Goodman Revisited (Connector, 2009)
- Quartier Latin (LKY, 2009)
- Panamericana Suite (MCG Jazz, 2010)
- Tango Jazz (Paquito, 2010)
- Song for Maura (Sunnyside/Paquito, 2013)
- Jazz Meets the Classics (Paquito, 2014)
- Aires Tropicales (Sunnyside/Paquito, 2015)
- Paquito & Manzanero (Sunnyside, 2015)
With David Amram
- Havana/New York (Flying Fish, 1978)
- Latin Jazz Celebration (Elektra Musician, 1983)
With Mario Bauza
- Afro-Cuban Jazz (Caiman, 1986)
- Tanga (Messidor, 1992)
- The Caribbean Jazz Project (Heads Up, 1995)
- Island Stories (Heads Up, 1997)
- The Gathering (Concord Picante, 2002)
- Mosaic (Concord Picante, 2006)
With Gloria Estefan
- Mi Tierra (Epic, 1993)
- Hold Me, Thrill Me, Kiss Me (Epic, 1994)
With Carlos Franzetti
- Prometheus (Audiophile, 1984)
- New York Toccata (Verve, 1985)
With Dizzy Gillespie
- Live at the Royal Festival Hall (Enja, 1990)
- To Bird with Love (Telarc, 1992)
- Bird Songs: The Final Recordings(Telarc, 1997)
With Conrad Herwig
- Another Kind of Blue (Half Note, 2004)
- Sketches of Spain y Mas (Half Note, 2006)
- Irakere (Columbia, 1979)
- Chekere Son (JVC, 1979)
- 2 (Columbia, 1979)
With Yo-Yo Ma
- Obrigado Brazil (Sony Classical, 2003)
- Obrigado Brazil Live in Concert (Sony Classical, 2004)
- Appassionato (Sony Classical, 2007)
- Songs of Joy & Peace (Sony Classical, 2008)
With Andy Narell
- The Passage (Heads Up, 2004)
- University of Calypso (Heads Up, 2009)
With Daniel Ponce
- New York Now! (Celluloid, 1983)
- Arawe (Antilles, 1987)
With Claudio Roditi
- Red on Red (CTI, 1984)
- Milestones (Candid, 1992)
With Lalo Schifrin
- More Jazz Meets the Symphony (Atlantic, 1994)
- Firebird: Jazz Meets the Symphony No. 3 (Four Winds, 1996)
- Gillespiana in Cologne (Aleph, 1998)
With Bebo Valdes
- Bebo Rides Again (Messidor, 1995)
- El Arte Del Sabor (Lola, 2001)
- Suite Cubana (Calle 54, 2009)
- Alex Acuna & Eva Ayllon, To My Country (Nido, 2002)
- Sergio Assad, Dances from the New World (GHA, 2013)
- Andres Boiarsky, Into the Light (Reservoir, 1997)
- Soledad Bravo, Mambembe (Top Hits, 1983)
- Soledad Bravo, Soledad Bravo (Sono-Rodven, 1985)
- Jeanie Bryson, Tonight I Need You So (Telarc, 1994)
- Cachao, Master Sessions Volume I (Sony, 1994)
- Cachao, Master Sessions Volume II (Epic, 1995)
- Michel Camilo, One More Once (Columbia, 1994)
- Valerie Capers, Come On Home (Sony, 1995)
- Ana Caram, Rio After Dark (Chesky, 1989)
- Regina Carter, I'll Be Seeing You (Verve 2006)
- Ed Cherry, First Take (Groovin' High 1993)
- Anat Cohen, Claroscuro (Anzic, 2012)
- Richie Cole, Kush (Heads Up, 1995)
- Chris Connor, Classic (Contemporary, 1987)
- Hilario Duran, From the Heart (Alma, 2006)
- Sui Generis, Sinfonias Para Adolescentes (2000)
- Giovanni Hidalgo, Villa Hidalgo (Messidor, 1992)
- Levon Ichkhanian, After Hours (Jazz Heritage Society 1996)
- Denise Jannah, I Was Born in Love with You (Blue Note, 1995)
- Dana Leong, Leaving New York (Tateo Sound 2006)
- Herbie Mann, 65th Birthday Celebration (Lightyear, 1997)
- Herbie Mann, America, Brasil (Lightyear, 1997)
- Raul Midon, A World Within a World (Manhattan, 2007)
- Michael Philip Mossman, The Orisha Suite (Connector, 2001)
- Chico O'Farrill, Heart of a Legend (Milestone, 1999)
- Makoto Ozone, Live & Let Live (Verve, 2011)
- Rosa Passos, Amorosa (Sony Classical, 2004)
- Oscar Peñas, Music of Departures and Returns (Musikoz, 2014)
- Roberto Perera, Seduction (Heads Up, 1994)
- Astor Piazzolla, The Rough Dancer and the Cyclical Night (American Clave, 1988)
- Tito Puente, Live at the Village Gate (Bellaphon, 1993)
- Bobby Sanabria, New York City Ache! (Flying Fish, 1993)
- Bernardo Sassetti, Salsetti (West Wind, 2000)
- Omar Sosa, Mulatos (Ota 2004)
- Janis Siegel, Experiment in White (Wounded Bird, 2002)
- Clark Terry, Live at the Village Gate (Chesky, 1991)
- McCoy Tyner, La Leyenda de La Hora (Columbia, 1981)
- Turtle Island String Quartet, Danzon (Koch, 2005)
- Nancy Wilson, R.S.V.P. (Rare Songs, Very Personal) (MCG, 2004)
- Cohen, Anat (22 April 2015). "Jazz Departments: Jazz Is a Blessing: An Interview with Paquito D'Rivera". jazztimes.com. Retrieved 6 September 2016.
- Collins, Catherine; Kernfeld, Barry (2002). Kernfeld, Barry (ed.). The New Grove Dictionary of Jazz. 1 (2nd ed.). New York: Grove's Dictionaries Inc. p. 655. ISBN 1-56159-284-6.
- Harris, Craig. "Paquito D'Rivera | Biography & History". AllMusic.com. Retrieved 6 September 2016.
- "Hollywood's Sick Love Affair with Che Guevara", reason.tv; accessed 16 November 2014.
- "Grammy Award winner Paquito D'Rivera endorses Scotch Plains saxophone manufacturer". NJ.com. Retrieved 24 January 2017.
- D'Rivera criticizes Carlos Santana over Che Guevara T-shirt, independent.org; accessed 16 November 2014.
- "Biography - Paquito D'Rivera". Paquito D'Rivera. Retrieved 24 January 2017.
- "YOA ORCHESTRA OF THE AMERICAS" (PDF). yoa.org. Retrieved 23 January 2017.
- "Paquito D'Rivera Biography". Boosey & Hawkes, Inc. Retrieved 13 November 2008.
- "Past Judges". independentmusicawards.com. Archived from the original on 13 July 2011. Retrieved 16 November 2014.
- "Paquito D'Rivera Quintet – The Band". Retrieved 24 January 2013. Cite journal requires
- Harrigan, Tom (31 October 2001). "Alejandro Sanz tops list of Latin Grammy Awards winners". The Daily Gazette. Retrieved 7 February 2013.
- Heinis, John (1 June 2012). "Paquito D'Rivera, other Latin legends see their stars unveiled in ceremony at Celia Cruz Plaza in Union City". The Jersey Journal. Retrieved 10 September 2015.
Global icon Paquito D'Rivera, 63...moved to the United States from Cuba in 1980. He currently resides in North Bergen.
- "Paquito D'Rivera | Awards | AllMusic". AllMusic. Retrieved 6 September 2016.
- "2013 Best Latin Jazz Album". GRAMMY Awards.
- "2014 Best Latin Jazz Album". 15th Annual Latin GRAMMY Awards. Retrieved 20 December 2014.
- "Paquito & Manzanero - Paquito D'Rivera". Paquitodrivera.com. Retrieved 27 January 2020.
BachPreludio from Partita No. 3 in E Major
The Partita No. 3 in E major for solo violin, BWV 1006.1 (formerly 1006), is the last work in Johann Sebastian Bach's set of Six Sonatas and Partitas. It consists of the following movements:
- Gavotte en Rondeau
- Menuets (I and II)
It takes about 20 minutes to perform.
Bach transcribed the Partita as a Suite, cataloged as BWV 1006.2 (formerly 1006a). The music critic Wilhelm Tappert claimed in 1900 that this arrangement was for lute solo, but present research[by whom?] indicates that it was for an unspecified instrument.[neutrality is disputed]
The most commonly found recordings are usually of the Preludio. The Preludio consists almost entirely of semiquavers (i.e. sixteenth notes). The Preludio was also transcribed by Bach for use in two cantatas:
- the sinfonia which opens the second part of the 1729 cantata Herr Gott, Beherrscher aller Dinge, BWV 120a.
- the opening sinfonia, scored for obbligato organ, oboes, trumpets and strings, of the 1731 cantata Wir danken dir, Gott, wir danken dir, BWV 29, in D major
- "Partita no. 3, E BWV 1006.1; BWV 1006". Bach Digital. Leipzig: Bach Archive; et al. 2020-04-09.
- "Suite, E (arr. of BWV 1006.1) BWV 1006.2; BWV 1006a". Bach Digital. Leipzig: Bach Archive; et al. 2020-04-29.
- Titmuss, Clive, "The Myth of Bach's Lute Suites", in Classical Guitar website, accessed 27 April 2015
- Manuscript (fair copy) in Bach's hand of the Partita at the Bach Digital project
- Sonatas and Partitas for Solo Violin: Scores at the International Music Score Library Project (IMSLP)
- Performance by violinist Karen Gomyo from the Isabella Stewart Gardner Museum in MP3 format
BalchTwo Songs for Robyn (2020)
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BartókSonata for Solo Violin
The Sonata for Solo Violin Sz. 117, BB 124, is a sonata for unaccompanied violin composed by Béla Bartók. It was premiered by Yehudi Menuhin, to whom it was dedicated, in New York on 26 November 1944.
Violinist Yehudi Menuhin commissioned a work for solo violin from Bartók in November 1943. It was written in New York and in Asheville, North Carolina, where Bartók underwent treatment for leukemia. Bartók finished composing the piece in March 1944. He wrote letters to Menuhin in April and June 1944 to agree on minor changes to make the Sonata easier to play.
Structure and analysis
The Sonata consists of four movements:
- Tempo di ciaccona
- Fuga. Risoluto, non troppo vivo
- Melodia. Adagio
The Tempo di ciaccona is essentially a sonata-form movement[a] written somewhat in the style of a chaconne, even though it is not its form. It is full of typical Hungarian folk intervals and harmonies. The Fuga begins with a four-voice fugue on a pulsating, staccato melody. After a section where the melody is accompanied quietly with fast running notes, it returns as a series of chords, alternately played with the bow and plucked in inversion. Nevertheless, it is not a strict fugue, as every episode introduces new material to the subject. The Melodia begins with a lyrical melody, stated alone and in all different registers of the instrument. It continues in sixths, octaves, and tenths, accompanied by trills and tremolos. The Presto alternates between a very quiet, fast, bumblebee-like passage played with a mute, and a cheerful melody. Bartók originally wrote the rapid passages in quarter-tones, but many violinists choose to perform a version, suggested by Menuhin, that only uses the standard 12 notes of Western classical music. Three contrasting themes appear throughout this movement, all of which re-appear in the final coda.
The Solo Sonata presents violinists with many difficulties and uses the full gamut of violin techniques: several notes played simultaneously (multiple stops), artificial harmonics, left-hand pizzicato executed simultaneously with a melody played with the bow, and wide leaps between pitches.
- Anderson in his liner notes writes that it is rather a sonata-form movement than a chaconne.
- Anderson, Keith (1994). Bartók: Violin Sonata, Sz. 117/44 Violin Duos, Sz. 98 (CD). Naxos Records. 8.550868.
- Bartók, Béla (1994). Sonata for Solo Violin: Urtext Edition. New York: Boosey and Hawkes.
- Menuhin, Yehudi (1976). Unfinished Journey. New York: Alfred Knopf.
- Yatsugafu, Oliver (2007). Performance-Practice Issues in Bartók's Sonata For Solo Violin (1944) (PDF) (M.M. thesis). University of Georgia.
- Jorge Bosso (2013-03-05). "Sonata for Solo Violin (Bartók), performed by Dora Schwarzberg". YouTube.
Claude ArrieuQuintette en Ut
Born in Paris, Claude Arrieu was a classically trained musician from an early age. She became particularly interested in works by Bach and Mozart, and later, Igor Stravinsky. However, Gabriel Fauré, Claude Debussy, and Maurice Ravel provided her the most inspiration.
Dreaming of a career as a virtuoso, she entered the Conservatoire de Paris in 1924. She became a piano student of Marguerite Long and took classes from Georges Caussade, Noël Gallon, Jean Roger-Ducasse and Paul Dukas. In 1932, she received first prize for composition.
From this point on, she developed her personal style. She was particularly interested in the evolution of musical language and various technical means available. In 1935, she joined the French Radio Broadcasting Program Service (« Service des programmes de la Radiodiffusion française »), where she was employed to 1947. She participated in the development of a wide range of programming, including Pierre Schaeffer's experimental radio series, La Coquille à planètes (1943–1944). In 1949, she won the Prix Italia of the RAI for her score Frédéric Général.
She wrote music in all styles, composing works of "pure music" as well as music for theatre, film, radio, and music hall, contributing her own voice to every situation, dramatic or comic, with a particular taste for rhythm and imagery. Her musical gift is typified by its ease of flow and elegance of structure. Vivacity, clarity of expression, and a natural feel for melody are her hallmarks.
Arrieu composed concertos for piano (1932), two pianos (1934), two concertos for violin (1938 and 1949), for flute (1946), trumpet and strings (1965). She also wrote Petite suite en cinq parties (1945), "Concerto for wind quintet and strings" (1962), Suite funambulesque ("Tightrope Walker's Suite") (1961), and "Variations for classical strings" (1970).
Among her important chamber music compositions are her Trio for Woodwinds (1936), Sonatina for two violins (1937), and Clarinet Quartet (1964). Her Sonatine for flute and piano made a big impression at its first radio performance in 1944 by Jean-Pierre Rampal and H. Moyens.
Although Arrieu's instrumental works strongly contributed to her legacy, it is vocal music that most markedly distinguish her career. Voice inspired her to set many poems to music, including those by Joachim du Bellay, Louise Levêque de Vilmorin, Louis Aragon, Jean Cocteau, Jean Tardieu, Stéphane Mallarmé, and Paul Éluard. Examples include Chansons bas for voice and piano based on poems by Mallarmé (1937); Candide, radio music on texts by Jean Tardieu based on Voltaire; and À la Libération, cantata of seven poems on love in war, on poems by Paul Éluard.
Her first opéra bouffe, Cadet Roussel with a libretto by André de la Tourasse after Jean Limozin, was presented at the Opéra de Marseille on 2 October 1953. In 1960, La Princesse de Babylone, an opéra bouffe after the work of Voltaire adapted by Pierre Dominica, was praised for its lyrical originality and spectacle.
Pierre Schaeffer wrote: "Claude Arrieu is part of her time by virtue of a presence, an instinct of efficiency, a bold fidelity. Whatever the means, concertos or songs, music for official events, concerts for the elite or for a crowd of spectators, she delivered emotion through an impeccable technique and a spiritual vigilance, finding the path to the heart."
Selected works for stage and broadcast
- Noé, 1931–1934 (imagerie musicale, 3 acts, A. Obey), f.p. Strasbourg Opéra, 29 January 1950
- Cadet Roussel, 1938–1939 (opéra bouffe, 5 acts, André de la Tourasse after Jean Limozin), f.p. Marseilles, Opéra, 2 October 1953
- La Coquille à planètes (opéra radiophonique, Pierre Schaeffer), RTF (Radiodiffusion-Télévision Française), 1944
- Le deux rendez-vous, 1948 (opéra comique, P. Bertin after G. de Nerval), RTF, 22 June 1951
- Le chapeau à musique (opéra enfantine, 2 acts, Tourasse and P. Dumaine), RTF, 1953
- La princesse de Babylone, 1953–1955 (opéra bouffe, 3 acts, P. Dominique, after Voltaire), Rheims, Opéra, 3 March 1960
- La cabine téléphonique (opéra bouffe, 1 act, M. Vaucaire), RTF, 15 March 1959
- Quintette en Ut, pour flute, hautbois, clarinette, cor et basson (1955) 
- Cymbeline, 1958–1963 (2 acts, J. Tournier and M. Jacquemont, after Shakespeare), ORTF, 31 March 1974
- Balthazar, ou Le mort–vivant, 1966 (opéra bouffe, 1 act, Dominique), Unperformed
- Un clavier pour un autre (opéra bouffe, 1 act, J. Tardieu), Avignon, Opéra, 3 April 1971
- Barbarine, 1972 (3 acts, after A. de Musset), incomplete
- Les amours de Don Perlimpin et Belise en son jardin (imaginaire lyrique, 4 tableaux, after F. Garcia Lorca), Tours, Grand Théâtre, 1 March 1980
Trio d'anches / Wind Trio. 1936
1. Allegro. 2. Pastorale et Scherzo. 3. Final. 9 mins. Ob, cl, bn
Arrieu was 33 when she wrote the Reed Trio; it was commissioned by the Trio D’Anches de Paris; Poulenc (1926), Milhaud (Suite d’après Michel Corrette, op 161, 1937) Ibert (1935), and Auric (1938) had also composed for them. However, her Trio shows the care she took with the part writing, sharing the material equally between the three instruments. The opening Allegretto ritmico is a swaggering mock march, with contrasting, nostalgic episodes. Initially the Pastorale et Scherzo is tender and swaying; the 3-time continues, faster and cheekily, and includes its own ‘middle section’. The Final, Allègrement, emulates the military manner, even in 3-time; then comes a ‘proper’, 4-time, steadier parade. Her wittiness is mischievous, producing teasingly foiled expectations in a mildly anarchic manner.
Published by Amphion Editions. The Ambache CD recording is on Liberté, Egalité, Sororité. It can be bought on Ambache Recordings Liberté, Egalité, Sororitéhttp://womenofnote.co.uk/recordings/: .
Wind Dixtuor. 1967
1. Allegretto moderato. 2. Moderato - Allegro scherzando - Andante - Tempo primo. 3. Andante - Allegro scherzando. 2 fl, ob, 2 cl, 2 bn, hn, tpt, tbn
The humorous first movement has slightly grotesque leaps in the main theme. An intermezzo quality characterises the outer sections of the second movement, around a brief scherzando. Next, a pastoral 6/8 precedes a bustling second scherzando. The singing wind writing is taken up again in the Cantabile, and the whole is rounded off with an energetic finale, which ends in a characteristically French gesture - with surprising gentleness.
- Sadie, Stanley (Ed.)  (1994). The New Grove Dictionary of Opera, vol. 1, A-D, chpt: "Arrieu, Claude" by Richard Langham Smith, New York: MacMillan. ISBN 0-935859-92-6.
- IMDb: Claude Arrieu - Filmography
- Fr.Wikipedia: Claude Arrieu