Flutist Ariane Brisson, horn player Louis-Philippe Marsolais and pianist Philip Chiu have fun with the codes and revisit the repertoire by offering a transcription of the most beautiful moments of Sergei Prokofiev's legendary ballet Roméo et Juliette. Also on the program is an original transcription for flute and piano of the great Sonata op. 80 by Prokofiev, originally written for violin, as well as an interpretation of that for flute, op. 94, frequently borrowed by… violinists!
Sonata for flute and piano in D major Op. 94 (1943-44) (24’)
I – Moderato
II – Scherzo
III – Andante
IV – Allegro con brio
Roméo and Juliette, suite (excerpts) for flute, french horn and piano (arr. Brisson) (20’)
Sonate for violin and piano no. 1 in F minor, Op. 80, arr. for flute and piano (arr. Brisson) (1938-46) (24’)
I – Andante
II – Allegro brusco
III – Andante
IV – Allegrissimo
Ariane Brisson, flute
Louis-Philippe Marsolais, horn
Philip Chiu, piano
They said...
Even before hearing the jury’s verdict, it was obvious that flutist Ariane Brisson stood head and shoulders above the rest. Her performance of Theobald Boehm’s very long and exceptionally challenging Grande Polonaise op. 16 showcased not only her perfectly developed technique, but all manner of refinements in her articulation and tone.
It would be an understatement to say that the ray of sunshine was flutist Ariane Brisson’s performance in Bach’s Suite No. 2, admirably nurtured by the attentive and detailed conducting of Mathieu Lussier. As such, it accounted for the 29 minutes of genuine frankness and real naturalness of the evening. A musical feast and a celebration of Bach.
Ariane Brisson captive par la musicalité de son jeu, ainsi que le contrôle et la qualité de sa technique et de ses lignes musicales, mais surtout par la verve avec laquelle elle exprime et fait vivre chaque point, chaque respiration, chaque intention et subtilité de ces récits musicaux, par le prisme de son langage personnel
