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celebrating three hundred years of music by women |
Claude Arrieu (1903-1990)
A prolific French composer, who studied at the Paris Conservatoire with Dukas, among others, taking first prize for composition in 1932; she was a piano student of Marguerite Long.
Arrieu was also a teacher, and worked as a producer and assistant head of sound effects at French Radio. Her radio score Frédéric Général won a Prix Italia in 1949.Although Arrieu's instrumental works strongly contributed to her legacy, it is vocal music that most markedly distinguish her career. Voice inspired her to set many poems to music, including those by Joachim du Bellay, Louise Lévêque de Vilmorin, Louis Aragon, Jean Cocteau, Jean Tardieu, Stéphane Mallarmé, and Paul Éluard. Examples include Chansons bas, (1937) for voice and piano based on poems by Mallarmé (1937); Candide, radio music on texts by Jean Tardieu based on Voltaire; and À la Libération, cantata of seven poems on love in war, on poems by Paul Éluard. She composed a dozen operas between 1931 and 1980. Other works include concertos for piano and orchestra, for two pianos, for violin, for flute, for trumpet, works of chamber music. In typical French manner, she wrote several good wind chamber works, notably the Trio d'anches (1932), and the Wind Quintet (1952). She also provided many teaching pieces for her students, including several for wind instruments, and even two works for trombone. Her music had the ease of flow and elegance of structure that typified Parisian neo-classicism. While avoiding frivolity, she showed a delightful sense of humour; vivacity, clarity of expression and a natural feel for melody were her hall marks. Many of her compositions are published by Billaudot, Paris. More can be found on Windmusic.org. Heugel, and Durand also issue several works. Wise Classical Music also have a substantial catalogue. Click on this work for more details below: Wind Dixtuor. 1967 1. Allegretto moderato. 2. Moderato - Allegro scherzando - Andante - Tempo primo. 3. Andante - Allegro scherzando. 2 fl, ob, 2 cl, 2 bn, hn, tpt, tbn The humerous first movement has slightly grotesque leaps in the main theme. An intermezzo quality characterises the outer sections of the second movement, around a brief scherzando. Next, a pastoral 6/8 precedes a bustling second scherzando. The singing wind writing is taken up again in the Cantabile, and the whole is rounded off with an energetic finale, which ends in a characteristicly french gesture - with surprising gentleness. Published by Gerard Billaudot, #597-00060. Back to Contents Wind Trio. 1936 1. Allegro. 2. Pastorale et Scherzo. 3. Final. 9 mins Ob, cl, bn Arrieu was 33 when she wrote the Reed Trio; it was commissioned by the Trio D'Anches de Paris; Poulenc (1926), Milhaud (Suite d'après Michel Corrette, Op 161, 1937) Ibert (1935), and Auric (1938) had also composed for them. However, her Trio shows the care she took with the part writing, sharing the material equally between the three instruments. The opening Allegretto ritmico is a swaggering mock march, with contrasting, nostalgic episodes. Initially the Pastorale et Scherzo is tender and swaying; the 3-time continues, faster and cheekily, and includes its own middle section. The Final, Allegrement, emulates the military manner, even in 3-time; then comes a proper, 4-time, steadier parade. Her wittiness is mischievous, producing teasingly foiled expectations in a mildly anarchic manner. Published by Editions Durand HL.50561844, Amphion Editions DA00014202. The Ambache Ensemble CD recording is on Liberté, Egalité, Sororité. It can be bought on Ambache Recordings Liberté, Egalité, Sororité. Recordings: Calliope; Disques Adès; Erato; L'oiseau Lyre; Ligia; Albany; Divine Art Recording Group; Epoch.
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