Rudolf Escher

Monologue
for Flute
(1 969)

Donemus Amsterdam Holland

 Rudolf Escher

Escher's oeuvre includes orchestral and choral works, chamber music, songs and
incidental music . Escher was distinguished twice with the Music Prize of Amster-
dam, in 1946 for his orchestral work Musique pour l'esprit en deuil ( 1941/43) andin
1953 for his choral work Le vrai visage de la paix (1953, rev . 1957) . The Visser
Neerlandia Prize was also awarded twice to him, in 1961 for Nostalgies pour ténor et
petit orchestre andin 1968 forhis Wind Quintet (1967) . Le tombeau de Ravel
( 1951)

for flute, oboe, viol in, viola, cello and harpsichord (1952) was awarded the Prof . van
der Leeuw Prize 1959 . In 1977 Escher was awarded the Johan Wagenaar Prize for
his complete oeuvre .
Among his chamber music works we mention : Sonata Concertante for cello and
piano (1943), suite for piano Arcana musae dona (1944), Sonata for clarinet solo
(1973) and several works for flute :Sonata for two flutes (1944), Sonata for flute solo
(1949), Air pour charmer un lézard for flute solo (1953) and Monologue for flute

(1969) .
 Aanwijzingen

rr~ cen langzaam begin gevolgd door een gel"j kmatig toenemende sncl -
hcid binnen de gegeven duur .

enkelvoudige voorslag voor de tel . In het geval van een accentuering komt
lier accent steeds na de voorslag .

enkelvoudige voorslag op de tel . Her accent valt in dit geval steeds op de

voorslag .

1 let is de bedoeling dar alle zogenaamd `irrationele' onderverdelingen van de

tcleenheden of combinaties daarvan (soms hele maten) door her oor zowel op
zichzeif waargenomen kunnen worden als in verhouding tot de `rationele'
onderverdelingen .
7,c motten daarom ritrlzisch exact gespeeld worden, zonder rubato binnen de
betreffende ritmische figuren (triolen, kwintolen, septolen, -4 :3-, r-7 :6-,,
-5 : 3-, -5 :4-, etc.). Er is hier dus geen sprake van `uitgeschreven rubato',
maar steeds van een exact genoteerd ritme .

Notes
r slow start followed by uniformly accelerated motion within the given
duration .

single appoggiatura before the beat . In the case of possible accentuation, the
accent consequently always cornes after the appoggiatura .

single appoggiatura on the beat. Accent in this case on the appoggiatura .

All so-called 'irrational' sub-divisions of the counting units or combinations

thercof (incidentally : whole bars) are intended to be perceptible by the car both
amongst themselves as well as with regard to the 'rational' sub-divisions . They
should consequently be performed exactly from Me rhythjnic point of vien, without
internat rubato within the relevant rhvthmic figures (triplets/quintuplets/sep -
tuplets, -4 :3-, -7 :6-, -5 :3-, -5 :4-, etc .) .
There is consequently no question bere of 'written-out rubato' ; it is always a
question of exactly notated rhythm .


Rudolf Escher

Monologue for Flute

X 1 96 9)

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Amsterdam October 1969

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