Fantaisie for flute and piano
In this masterclass, Professor Philippe Bernold works with Clémence Béal on intonation, breath control, and phrasing in the Hüe’s Fantaisie. He offers her advice on the best approach to tuning before playing and gives an overview of the flute’s intonation tendencies so that the student can be more vigilant about matching the piano. He also helps Béal find tempos in the different sections of the work that will both serve the music and allow her to manage her breath better. He discusses the thought process behind building phrases that have clear high points and encourages her to achieve these phrases by thinking and playing like a singer, especially since much of the music is so lyrical and operatic. Throughout the class, he also discusses technical and rhythmic accuracy.
How to most effectively tune prior to performing and maintaining intonation throughout.
Choosing tempos that optimize both expression and breath control.
Creating phrases with beginnings, middles, and ends.
Playing and phrasing like a singer.
Maintaining rhythmic accuracy.
Coordinating fingers and air.
Georges Hüe composed the Fantasie for flute and piano in 1913 for the Paris Conservatory final examinations. It was dedicated to Paul Taffanel, who died in 1908 after a monumental career as a virtuoso flutist and educator. The piece was orchestrated ten years later and can now be performed as a concerto, though it is still often heard in its original form. The piece offers the flutist the opportunity to showcase his or her tone, expressivity, and technique and has become a staple in the instrument’s repertoire. Though it is a free-form work, it is divided into three clear sections. The first section opens with declamatory chords in the piano before the flute powerfully announces its presence; the flute then engages in florid, ornamental runs and a brief, articulated passage alone. The music then transitions into the second section, which consists of warm, lyrical melodies. The material then harkens back to the beginning of the piece, though with a more urgent accompaniment in the piano. Finally, the last section begins with persistent octaves in the piano and a dotted melody in the flute. The music continues lyrically but with more flow until arriving at a brilliant conclusion.
Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this flute masterclass. Please note that this piece has been annotated in accordance to Philippe Bernold’s feedback and comments.
In 1987 he won First Prize in the Jean-Pierre Rampal International Competition in Paris.
Philippe Bernold began his musical education in Colmar, France, studying the flute and later composition and conducting under the tutelage of René Matter. Later, he attended the National Paris Conservatoire where his notable skill was recognized and earned him First Prize in flute. The following year at only 23-years-old, Bernold was appointed first flute at the Opéra National de Lyon. After winning First Prize at the Jean-Pierre Rampal International Competition in Paris, Bernold was able to launch a successful career as a soloist, performing with world famous artists such as: M. Rostropovitch, R. Capuçon, G. Opitz, and A. Tharaud; as well as with many widely-acclaimed orchestras including the Paris Orchestra, Manchester Hallé Orchestra, Tapiola Sinfonietta, National Orchestra of Lyon, Tokyo and Kyoto Symphony Orchestra, among many more. The accomplished flautist has been directed by highly esteemed conductors including: S. Bychkov, J. E. Gardiner, L. Maazel, K. Nagano, Sir Y. Menuhin, M. Inoué, and T. Koopman. He has performed in concert halls worldwide including but not limited to the Royal Festival Hall in London, Warsaw Philharmonic, the Seoul Art Center in South Korea, and Tchaïkovsky Conservatory in Moscow. Years later, Philippe Bernold returned to conducting after founding “Les Virtuoses de l’Opéra de Lyon.” After its formation, the ensemble was lauded for its high level of artistry. Since then, he has been invited to conduct concerts with such ensembles including the Sinfonia Varsovia, Bilbao, the National Opera Orchestra of Lyon, Baden Baden Philharmonie, Orchestre de chambre de Paris, Philharmonic Orchestra of Marseille, Kanazawa Ensemble (Japan), and more. Additionally, Philippe Bernold has made many accomplished recordings. Most notably, Bernard was the recipient of the Grand Prix de l’Académie Charles Cros for his very first recording in 1989. Philippe Bernold is Professor of Chamber Music and flute at the National Paris Conservatoire.