For a long time the thought already fascinates me to achieve with a minimum of musical material a variety of different expression possibilities.
In La Flûte for this there are four very different musical characters (searching, ponderously, in dance style, singing, all prefered in low position) which change in the course of the about eight minute piece as a function of instrumentation (four instruments!), speed (more and more faster!), volume (more and more louder!) and syntax (more and more shorter!) and thus transform.
The interspersed Berlioz texts serve on the one hand naturally to fill the frequent instrument changes with live, but create at the same time a loud-linguistic continuum, which transforms the perception of the four characters additionally. Moreover music and text get also on a contentwise level in dialogue, because the remarks by Berlioz, published 1844 in his "Traité d’instrumentation et d’orchestration modernes", tell us from the nature of the instrument "flute".
The restlessness of the numerous instrument changes finally leads in a musical quotation, now referring to the text, which follows a calm, quite surprising and in addition inaudible end.
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