Sonatine for flute and piano

Sonatine for flute and piano

Henri Dutilleux

Philippe Bernold's masterclasses

English 41 min Flute

In this masterclass, Philippe Bernold helps student Dorotea Senica navigate her interpretation of Henri Dutilleux’s Sonatine.

Produced by the Saline royale Academy in October, 2020 at Arc-et-Senans.

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The masterclass

About this masterclass of Philippe Bernold

In this masterclass, student Dorotea Senica interprets Henri Dutilleux’s Sonatine. Master flautist Philippe Bernold places the focus on the construction of sentences, color changes, expression, and overall structure. He instructs Senica to consider herself as a “third voice or a third hand of the piano.”

Next, Bernold underlines the importance of finding the right sound in each register. Using vivid description, he distinguishes and associates the different registers of flute with their respective ‘color.’ This leads to a discourse about timbral variation. The master explains that if there is an absence of musical notation indicating how the piece should be played, music in the high register should be played brightly “…like the sun, the medium register is more clouded, and finally the low register is dark.”

In addition, the master discusses intervals and sostenuto or sustaining the notes. Large intervals require more energy in order to sustain a phrase. The larger the interval, the greater degree of emotion.

Throughout this masterclass, Bernold emphasizes the importance of painting a picture through the music. In other words, he implores the student to tell a clear narrative through her performance, one that can be followed logically and emotionally by the audience.


About this flute masterclass

  1. Large intervals inspire higher emotion and expression.
  2. The function of sostenuto in relation to the flute register.
  3. The importance of structure.
  4. Employing different tones, colors, and timbre is essential.
  5. Effective story-telling through music.

This piece is structured in three “movements” that are played without breaks. The Allegretto carries a particular theme in 7/8 timing, with jagged interval leaps. A cadenza transitions to the second section: a lyrical Andante that showcases Dutilleux’s penchant for colorful harmonies and dreamlike melodies. A sprightly animated section highlighting synergy between the flute and piano is followed by a second cadenza that progresses into an accelerando, and leads to the finale.`

Henri Dutilleux aimed to encourage young composers to explore instrumental technique as well as strongly advise students to work on new scores — new music.

  • Student:Dorotea Senica
  • Instruments: Flute
  • Date:03 November 2020
  • Academy:Academy Nov. 1 - Nov. 8, 2020
Philippe Bernold

Philippe Bernold

The music is hanging on to what we do between the notes.

Philippe Bernold

Sheet music

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.

Philippe Bernold

Philippe Bernold

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.

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