Pierre-Octave Ferroud

1900-1936
Student of Florent Schmitt

The “Three Pieces for Solo Flute” were

composed from 1921-1922. Each of these
three pieces demonstrates significant
influence from East Asian music, a common
trend in early 20th century French music.

The first piece, “Bergère Captive,” invokes

a plaintive but pastoral mood with sinuous
melodies and a great deal of freedom
brought about by fluctuating tempos. “Jade”
is very fast and rhythmic, and demonstrates
strongly Asiatic influences of pentatonic
melodies and pitch bends.
Arthur Honegger

1892 – 27 November 1955

Charles-Marie Widor​ and ​Vincent d'Indy​.
Dance of the Goat is a piece for solo Flute
by Arthur Honegger, written in 1921 as
incidental music for dancer Lysana of
Sacha Derek’s play La Mauvaise Pensée.
The slow dreamlike introduction consists of
Following this is a more melodic theme or
idea that gives off a more calming feeling.
The goat theme and the calm theme both
reoccur, and at the end the slow dreamlike
idea returns and closes off the piece with a
soft and quiet harmonic C for resolution.
Claude Debussy (1862-1918)
Syrinx (1912)
Claude Debussy’s Syrinx dates from 1912
(the same year as Schoenberg’s
masterpiece, Pierrot Lunaire), though it
wasn’t published until 1927, nine years after
his death. He wrote it as incidental music
for the play, Psyché, by his friend, Gabriel
Mourey. In Greek mythology, the flute is
associated with the god, Pan, and in
Mourey’s play, Syrinx (appropriately)
accompanied the scene of Pan’s death.
As with much of Debussy’s later work,
Syrinx is remarkably ambiguous in its
harmony. In it, Debussy drew on whole
tone, pentatonic, and chromatic pitch
collections, assiduously avoiding any major
or minor diatonic scales or tonal cadences.
The result is a type of music that’s at once
familiar but novel and filled with unexpected
turns of phrase and harmony.
Also, Debussy’s rhythmic palette is
decidedly unclear: there’s a free,
improvisatory quality to the music as it
spins out (though, in fact, the score falls
into three distinct sections). One
commentator suggests that the rhythmic
patterns in Syrinx (which alternate between
long and short, rather than strong and
weak) actually mirror the rhythmic principles
of French speech, which are differentiated
by syllable length rather than syllable
stress.
At any rate, Syrinx is a haunting piece and
its three-minute duration makes it one of
the friendliest introductions to the world of
atonality one can imagine. 
Meira Warshauer

WARSHAUER HAS DEVOTED MUCH OF

HER CREATIVE OUTPUT TO JEWISH
THEMES AND THEIR UNIVERSAL
MESSAGE.
HER WORK ALSO REFLECTS A LOVE
AND CONCERN FOR THE EARTH.
Bati l”gani “I’ve come into my garden” offers
glimpses of intimacy between lovers,
between creator and creation, the delight of
recognition: Divine goodness flowing into
the world. Here, Shechinah, GOd’s
in-dwelling feminine Presence, communes
with Creator in the earthly garden of
creation.
It is inspired by SOng of SOngs ch 5.

I have come into my garden,

My sister bride.
I have gathered my myrrh with my spices,
I have eaten my honeycomb with my
honey,
I have drunk my wine with my milk.
Eat, Friends,
Drink and be drunk, beloved ones.
Nicole CHamberlain

Prolific composer and flutist based in

Atlanta, GA.
Powell Artist.
Aimer, c’est agir 2019
William Grant Still, Jr. (May 11, 1895 –
December 3, 1978) was an American
composer​ of nearly 200 works
Often referred to as the "Dean of
Afro-American Composers", Still was the
first American composer to have an opera
produced by the ​New York City Opera​. Still
is known primarily for his first symphony,
Afro-American Symphony​, which was until
1950 the most widely performed symphony
composed by an American.
Born in Mississippi, studied at ​Oberlin
Conservatory of Music​, ​Edgard Varèse​.
Of note, Still was the first African American
to conduct a major American symphony
orchestra​, the first to have an opera
performed on national television.