Listen all tracks :
|Sonate pour flûte et piano|
|01. Andantino con moto (4:34)||0.59|
|02. Scherzo. Vivace (1:44)||0.59|
|03. Adagio (5:34)||0.59|
|04. Finale. Moderato (3:54)||0.59|
|Sonate pour violon et piano|
|05. Moderato (5:41)||0.59|
|06. Presto (3:05)||0.59|
|07. Lento (5:47)||0.59|
|08. Finale. Con moto (6:11)||0.59|
|Sonate pour violoncelle et piano|
|09. Moderato quasi Andante (5:08)||0.59|
|10. Très lent (4:00)||0.59|
|11. Final. Moderato molto (6:12)||0.59|
Total Time 1:12:54
These three sonatas, each with its individual character, are constructed in a classical manner, with slow middle movements, first and second subjects, bridge passages, themes transposed and repeated, etc., but inspiration and style are often innovative. All three make wonderful use of the instruments' possibilities.
The Sonata for flute and piano (Scherzo.Vivace), is inspired by an intuitive knowledge of the possibilities of the flute, instrument of lightness and light. This sonata can be considered as the French counterpart to the sonata "Undine" by Carl Reinecke (1824-1910), symbol of German romantic flute music. Mel Bonis wrote her sonata in 1904 and dedicated it to her friend the famous flautist Louis Fleury (1878-1925).
This work is in four movements. From the beginning a refined dialogue is set up between the two instruments. The sonata integrates in its classical construction a variety of exotic atmospheres, from pastoral to oriental, in successive climates of tenderness, joy and passion.
The Sonata for violon and piano (Presto) is a later work and was published in 1922. Performed the same year at the "Salon des Musiciens" in Paris, it was hardly noticed in a milieu only interested in "modern" music.
The work is striking in its strength and originality. It is a strongly structured and contrasted piece, whose many facets stimulate the listener's imagination: the strange and vaguely disquieting oriental atmosphere created by the sensual progressions and the recurring outbursts of the first movement, "Modéré"; the agile "Scherzo", rapid, vital, precise, even aggressive when incisive repeated notes appear in the piano part; the obstinate repetition of the Greek theme which permeates the "Andante", plaintively rooted in the low register of the piano and becoming more and more haunting under the pressure of the bow; the dramatic development of the "Finale" where the whole work finds its meaning, a colossal expression of power and colour concluding in an eruption of virtuosity.
The Sonata for cello and piano (Moderato quasi Andante), published in 1905, the shortest and most classical of the three, is in three movements. Piano and cello are both treated in an extremely lyrical way. In the "Allegretto", in the manner of Debussy, the composer combines distant harmonies with great skill. Eberhard Mayer, specialist of Mel Bonis, wrote: "Chromatic lines, diatonic scales and intervals of augmented fifths, augmented and diminished fourths are the basic materials which merge with the piano arpeggios to create a very special atmosphere" (Leverkusen, Mel Bonis Conference, 1998). The last movement, in the vein of César Franck, outstanding in its "furioso" finale, is purely romantic in its inspiration.