Sonate for flute and piano - Noten für Querflöte + Klavier Jacques Leguerney

The Sonata for Piano and Flute (Sonate pour piano et flûte) was composed for Claude Desanges, aschool mate of the composer. The only known performance was an informal one at the Parisianapartment of Leguerney’s parents. Leguerney’s mentor and dear friend, Thérèse Cahen, accompaniedDesanges.The Sonata is dedicated to Michel Jomier, Leguerney’s close friend, who also wrote several poems thatLeguerney set during his early period of exploratory compositions. Part of the handwritten dedication isillegible, it reads “To Michel Jomeir, in memory of ?” and there we can only guess at the rest.There are several autograph manuscripts on deposit at the Département Musique of the Bibliothèquenational in Paris. These manuscripts are the property of the Leguerney Estate, and are identified by acode starting with OL.OL11 is a full-score rough draft with several corrections, indicated by hatch-marks. It is dated 1October 1927. At the end of the 1st movement, the last quarter notes in the piano part are marked with aslur going over the final double bar, indicating that the sound should continue to resonate. There is afermata over this ending double bar in both the flute and piano parts, which implies that the 2ndmovement should continue immediately. This mark is eliminated in OL11A. The 2nd movement alsohas slurs over the final notes, indicating a segue to the 3rd and final movement. There are fermatas overthe final chords of the 2nd movement as well. These are eliminated in OL11A. The 2nd movement isdated 29 October 1927 and the 3rd movement is dated 9 December 1926.OL11A is a cleanly copied full-score autograph manuscript where the title is Sonate pour Piano et Flûteen 3 Mouvements. Andantino spiritoso, Pas trop lent, Vif. (Sonata for Piano and Flute in 3 Movements.Andantino spiritoso, Pas trop lent, Vif.)OL11B is a clean copy of the flute part. Although unsigned, it appears to be an autograph manuscript.The breath marks placed into the Musik Fabrik edition are written in pencil in both OL11B and OL11C.OL11C is a flute part that appears to be used. It is worn, has some paste overs and penciled-in cues inthe 2nd movment, as well as some breath marks and nuance indications. This seems to be a workingcopy for a performance or reading. The editor thinks that OL11B ithe final draft, written out afterOL11C was used for a performance.This edition is based upon all of these sources, using the full score of OL11A and the flute scoreOL11B as the final thoughts of the composer.Mary Dibbern, Music Director for Education and Family Programs with The Dallas Opera andAdjunct Faculty at the University of North Texas, has worked internationally as a collaborative pianistand vocal coach since 1978. She has worked for all of the major French opera companies, as well asnumerous North American, European and Asian venues. She is an accomplished master class teacherand advisor for emerging classical vocalists. Her recital recordings include Mélodies de JacquesLeguerney (Claves), winner of a Grand Prix du Disque, Offenbach au Menu (Maguelone), andMélodies de Jacques Leguerney, Vols. I and II (Harmonia Mundi France). She worked with JacquesLeguerney for nineteen years, encouraging him to allow the performance of his yet unpublished scores.She continues this important work in collaboration with Musik Fabrik as the musical expertrepresenting the Leguerney Estate. She is the author for Pendragon Press of six books on French songand opera, as well as the translator of Anne Massenet’s new biography, “Jules Massenet en touteslettres”.