Michael Laderman
Flute Performer

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Classical Recital Music

Krishna - Click to Listen

This is the third movement of a suite of four movements for flute and piano called Joueurs de flute or Flute Players by the French composer, Albert Roussel (1869-1937). It was composed in 1924, with each movement representing a different mythological or fictional flute player and being dedicated to a different French flutist. Krishna, a musical portrait of the Hindu God Krishna, an avatar of Vishnu, the Sustainer, was dedicated to Louis Fleury. It was inspired by Roussel's voyage to India and Ceylon (now Sri Lanka), and uses a scale that contains the notes of the traditional Indian rag sri. I performed this music with pianist Arielle Levioff on April 4, 2004 at Trinity Parish in Bergen Point, Bayonne, New Jersey. The recording was done by David Merrill.

Prokofiev - Click to Listen

This is the Andantino first movement of the Sonata for Flute and Piano, Opus 94, by Sergei Prokofiev (1891-1953), which was written during the years 1942-43, while Moscow was under siege by the Nazis and the composer was among the artists evacuated by order of the Soviet government. This work, written during Prokofiev's stay in Alma Ata, Kazakhstan, is a profound work that has a recurring undercurrent of war but is far from being a mere propaganda piece. This movement is by turns nostalgic and martial, with the martial character really coming to the fore as trumpet-like fanfares in the flute part begin the Development section, but the beginning and end of the movement are more wistful and reflective. This sonata was arranged by the composer for violin and piano at the request of David Oistrakh and is very much in the repertoire of both flutists and violinists today. In this performance, which took place in the Theodore Roosevelt Birthplace, New York, NY, on May 31, 1997, the pianist was Colette Valentine, and the recording was done by Michael Mermagen.

Bach - Click to Listen

This is the third movement (Andante) of the Sonata for Flute and Continuo in E minor, BWV 1034, by Johann Sebastian Bach (1685-1750). This is one of the simpler movements in the repertoire of the Bach sonatas that feature the flute, and it has a tuneful charm that makes it good to play on its own. On May 31, 1997, it seemed like the perfect way for the audience, Colette Valentine and me to relax after the intensity of the Prokofiev Sonata, so we played it as an encore at our recital at the Theodore Roosevelt Birthplace, and this accounts for the applause at the end of the movement. This movement is essentially in the form of a passacaglia with an ABA key structure, going from G Major to E minor and then back to G Major.

Idylle - Click to Listen

Some of you will recognize this Idylle as the second piece in the Suite de trois morceaux (Suite of Three Pieces), Opus 116, by Benjamin Godard (1849-1895). I was greatly inspired by the way Alain Marion taught this piece at the Academie Internationale d'Ete de Nice. I heard a talented young Briton play the Idylle for him. She got about halfway through when he gently interrupted and asked her whether she knew what "Idylle" meant. He said "Idylle is a love song." After playing about two thirds of the way through the piece, in a very spontaneous and expressive style, he said "I've told you my love story; now, you tell me yours." I dedicated my performance of this bel canto love song for the flute on May 20, 2001 at Christ and St. Stephen's Episcopal Church, New York, NY, to the memory of that great man, whose untimely death in 1998 at the age of 59 left very big shoes to fill. The pianist for that recital was Maria Antonia Garcia and the concert was recorded by David Merrill.

Widor - Click to Listen

This is the first movement (Moderato) of the Suite for Flute and Piano, Opus 34, composed in 1898 by Charles-Marie Widor (1844-1937). Widor is most famous for his works for organ, and in his lifetime, he was also known for his prowess as an organist and teacher of organ. Though this work is called a suite, it has the feel of a major four-movement Romantic sonata, influenced by Robert Schumann - including a brief quote from his Fantasiestueck for Piano, in this movement - but with a style all its own, related to that of the Romantic "art song" and bel canto operas. This suite was the last piece on the program of my May 20, 2001 recital at Christ and St. Stephen's Episcopal Church.

Chamber Music

Thought's Torsion - Click to Listen

This is a work for flute doubling alto flute, viola and cello by Peri Mauer, a New York-based composer and also a terrific cellist whom I've worked with in that capacity as well. I had the privilege of playing with two fantastic string players: The violist in this performance is Gregor Kitzis and the cellist is Arthur Cook. We performed the work on June 4, 2016 at the Leonard Nimoy Thalia at Symphony Space, as part of a concert by the New York Composers Circle.


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