Concertino Chaminade Analysis Essay

Afternoon classical music fans! Welcome to Day 11 of my Female Fortnight Challenge! Today’s female composer is Cécile Chaminade and I will be looking into her much-loved Concertino for Flute and Piano in D major. This is honestly one of the cutest pieces for flute, it is charismatic, lyrical and requires much dexterity at times. The concertino is very exciting and I am sure you will all love it as much as I do!

Cécile Chaminade was born in Paris, 1857. At a young age she started playing the piano, with her mother being her first teacher. She then learnt with Félix Le Couppey. As well as learning the piano, Chaminade also took an interest in learning the violin. She learnt with Marie Gabriel Savard and Martin Pierre Marsick. She then learnt basic music composition with Benjamin Godard. However, none of these were official as her father disapproved of her musical education (sigh). Chaminade flourished in music composition, so much so she showed some of her sacred music to Georges Bizet (at aged 8!). He was very impressed by her talent and worked closely with the young composer. When she was 18 she gave her first concert. From here her reputation as a composer grew and grew. She composed a lot of character pieces and salon songs, to which nearly all of them were published. After touring around France, Chaminade made her first trip to England, where he works were received in a very positive light. In 1901, Chaminade married music publisher, Louis-Mathieu Carbonel. It has been suggested that this marriage was convenient for them both, due to how much older Carbonel was.

In 1908, Chaminade took a trip to the USA. Her compositions were also received very well there. Whilst in the USA, Chaminade composed a ballet called Callirhoé and other orchestral works. She is also well-known for her songs, which were popular throughout Europe and the USA. Amrboise Thomas (French composer) said this of Chaminade: “This is not a woman who composes, but a composer who is a woman.” In 1913 she was awarded the Légion d’Honneur (the first for a female composer!). Before World War I broke out, Chaminade recorded many piano rolls. However, in her later life she composed less and less. She died in Monte Carolo, 1944.

Sadly, since her death, Chaminade has become incredibly obscure, with most of her songs and piano piece being forgotten. Her Concertino for Flute and Piano has remained her most well-known work. Initially this work was written for flute and piano, however in later years it has been orchestrated for flute and orchestra (for this blog I will be referring to the original arrangement for flute and piano). The piece was commissioned by the Paris Conservatoire in 1902 to be an examination piece for flute students. The Concertino is dedicated to flautist and teacher, Paul Taffanel. There is a legend behind the composition of this work, which nobody is sure whether it is true or not. Supposedly, Chaminade wrote this work to punish a flute-playing lover after he left her to marry somebody else. She thus wrote an extremely difficult concertino which he would not be able to play (though legend says he was able to play it!). The piece has remained popular in flute repertoire and is still used as an examination piece.

The work is in one movement as in rondo form. It begins with a broad statement from the piano, which leads into the flute entry. A lyrical melody built on quaver and triplet movement is heard and this decorative solo is the foundation of the whole work. This melody is very cute and it shows off the different ranges of the flute. More technical passages act as an interlude which lead into the next sections. This piece is very demanding for the soloist. Next there is a central section which is marked animato. This slightly more upbeat section uses different techniques such as double tonguing and decorations which make the solo part much more difficult. I find this section very colourful and bright, and it really highlights how wonderful the flute is. There are some sporadic fast passages which add to the excitement of the piece. The sheer speed is part of what makes the work fiendishly tricky.

An interlude from the piano leads into the next variation of the theme. This leads into the very exciting cadenza. The written cadenza requires keen dexterity and nerve from the soloist, as well as a bold sound and range. The piano returns after a trill from the flute. The final section of the work is composed of a reprise of the opening melody. The fast scalic runs are much more prominent in this final part of the concertino. An animated coda ends the work with an exciting passage of music.

So there we have it, Cécile Chaminade’s Concertino for Flute and Piano in D major. This truly is a wonderful piece of flute repertoire that is still popular today. It’s tuneful and very accessible for everybody, I can’t recommend it enough I think it’s a brilliant piece! We are heading into Day 12 tomorrow in the challenge, which female great will it be? Keep your eyes peeled to find out!

This blog is dedicated to one of my favourite people, Hannah Thornton. She is an absolutely fantastic flute player who I miss very much, I hope you enjoy this piece!

Happy Reading!

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Когда люк открылся, Чатрукьян невольно отпрянул. Струя горячего воздуха, напоенного фреоном, ударила ему прямо в лицо. Клубы пара вырвались наружу, подкрашенные снизу в красный цвет контрольными лампами. Далекий гул генераторов теперь превратился в громкое урчание.

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