INTERFERENȚE STILISTICO-INTERPRETATIVE ÎN SONATA PENTRU FLAUT ȘI PIAN DE FRANCIS POULENC
STYLISTICAL-INTERPRETIVE INTERFERENCES IN THE SONATA FOR FLUTE AND PIANO BY FRANCIS POULENC

Summary/Abstract: In the first decades of the 20th century, French musical culture is covered by a wide stylistic arc from Post-Romanticism of Camille Saint-Saëns (1835-1921), Impressionism of Claude Debussy (1862-1918) and Maurice Ravel (1875 -1937), to the Neoclassicism launched in the third decade, which is actually an extension of the great French renaissance started in the previous century. The composers of this current will be concerned with the revalorization of pre-classical and classical traditions. Francis Poulenc (1899-1963) is not an innovator. In his creation, he wants to demonstrate through his strong character and personality that he is a good descendant of the classics of the past. In his concert and chamber creations, he capitalizes on clearly defined classical structures in a personal style. Like the instrumental miniatures, Francis Poulenc's sonatas and concertos stand out for the fusion of folkloric rhythms with the transparent melodicity of a sonority specific to the French spirit. Sonata for flute and piano, written in 1957, is a work dating from the period of compositional maturity, a work with a tripartite structure, with a free construction and melodies with a wide breath that remind us of the composer's vocal works. Nothing is predetermined, everything is under the influence of the inspiration. The formal, harmonic and dynamic plan reflect the composer's originality, sensitivity and color refinement.

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