UNIVERSITY OF OKLAHOMA

GRADUATE COLLEGE

A THEORETICAL AND TOPICAL ANALYSIS OF CÉCILE CHAMINADE’S

CONCERTINO, OP. 107 FOR FLUTE AND PIANO

A THESIS

SUBMITTED TO THE GRADUATE FACULTY

in partial fulfillment of the requirements for the

Degree of

MASTER OF MUSIC

By

ELIZABETH ANNE WOLFREY

Norman, Oklahoma
2023
A THEORETICAL AND TOPICAL ANALYSIS OF CÉCILE CHAMINADE’S
CONCERTINO, OP. 107 FOR FLUTE AND PIANO

A THESIS APPROVED BY THE

SCHOOL OF MUSIC

BY THE COMMITTEE CONSISTING OF

Dr. Sarah Ellis, Chair

Dr. Valerie Watts

Dr. Marvin Lamb

[Prefix] [First and Last Name]

[Prefix][First and Last Name]

© Copyright by ELIZABETH WOLFREY 2023
All Rights Reserved.
 Table of Contents

List of Tables .................................................................................................................... v

List of Figures .................................................................................................................. vi

Abstract ..........................................................................................................................viii

Chaminade Biography and Compositional Style .............................................................. 1

Formal Analysis ................................................................................................................ 7

Topical Analysis ............................................................................................................. 30

Conclusion: An Alternative Narrative ............................................................................ 58

References ....................................................................................................................... 61

iv
 List of Tables

Table 1 Form of Concertino op. 107……………………………………………….8

v
 List of Figures

Figure 1 Period structure and cadences of the primary theme mm. 1-14 ........................... 9

Figure 2 mm. 15-21........................................................................................................... 10

Figure 3 mm. 22-34, end of first A section ....................................................................... 11

Figure 4 Missing A-major Antecedent mm. 116-125 ....................................................... 12

Figure 5 Inner refrain section, mm. 96-110 ...................................................................... 14

Figure 6 Primary theme .................................................................................................... 15

Figure 7 Secondary Theme ............................................................................................... 16

Figure 8 First seven measures of the C-section, mm. 73-79 ............................................. 17

Figure 9 mm. 15-26........................................................................................................... 19

Figure 10 mm. 22-26......................................................................................................... 20

Figure 11 Secondary theme .............................................................................................. 21

Figure 12 Transition from the A section (mm. 31-32) into the B section (mm. 33-40) ... 22

Figure 13 Half-step motive used as a means of modulation into the C-section ............... 23

Figure 14 Brief foray into F-major, mm. 79-82 ................................................................ 24

Figure 15 C-section transition into the A'-Section, fragment of Primary theme in A-

minor, mm. 95-97 ............................................................................................................. 24

Figure 16 Affirmation of C-major in the A'-section, mm. 98-109 ................................... 25

Figure 17 half-step motive transitional device, flute part mm. 108-110 .......................... 26

Figure 18 m. 111, cadenza ................................................................................................ 27

Figure 19 Transition from A'-section to the Coda, mm. 132-139..................................... 28

Figure 20 ending of the coda, mm. 140-152 ..................................................................... 29

Figure 21 Opening Declamatory Tetrachord mm. 1-2...................................................... 34

vi
Figure 22 Declamatory Bass in modulation to A major in the first A section, m. 11 ...... 34

Figure 23 Declamatory bass restatement mm. 27-30........................................................ 35

Figure 24 mm. 112-115..................................................................................................... 36

Figure 25 ........................................................................................................................... 37

Figure 26 mm. 33-40......................................................................................................... 38

Figure 27 Secondary theme transformation, ascending bass line transformation. ........... 39

Figure 28 First seven measures of the C-section. mm. 73-79 ........................................... 40

Figure 29 Ascending/Descending Chromatic Declamatory Bass over Pedal Point in the

C-section, mm. 84-86........................................................................................................ 41

Figure 30 Relocation of the Declamatory Bass leading in the French +6 ........................ 42

Figure 31 ........................................................................................................................... 42

Figure 32 Declamatory bass used to get to a V43/iii ........................................................ 43

Figure 33 Pastoral topic mm. 112-115.............................................................................. 46

Figure 34 Undercutting of climaxes via modulations/mode mixture. .............................. 47

Figure 35 Transition from the pastoral A section to the B section in a major flat key. .... 48

Figure 36 mm. 95-101....................................................................................................... 49

Figure 37 mm. 146-152..................................................................................................... 50

Figure 38 mm. 31-34......................................................................................................... 52

Figure 39 mm. 38-40......................................................................................................... 52

Figure 40 Transition from the B section into the C-section (Vivo) mm. 71-79 ................ 54

Figure 41 Transition from the C-section into the A'-section, mm. 95-101. Fragments of

the Primary theme are shown in the piano in mm. 96-97 and 100-101 ............................ 55

Figure 42 Coda section minus the first four measures (mm. 140-152) ............................ 57

vii
 Abstract

Of her many works, the Concertino, op. 107 for flute and piano has experienced

an enduring popularity amongst flutists. This popularity is evident based on its inclusion

in Schirmer’s Flute Music by French Composers collection, a volume that has been

cemented in the canon for all performing flutists. In the 1990’s, an article was published

which attributed a story of unrequited love to the piece. This story, though doubtful to its

authenticity, has taken root and morphed the work into a sort of “coming of age” piece

for flutists who play it. This unfortunately has become a part of Chaminade’s biography

when performed, despite little evidence she intended the work to be perceived in this

way.

In my analysis of the Concertino, I examine the ways in which Chaminade

manipulates the form of a rondo to create a work that is musically effective and

expressively rich. I will argue that a tonal problem created by the juxtaposition of A and

A# is played out through the lens of the pastoral genre. I show how Chaminade frames

the Concertino in the pastoral expressive genre through her employment of musical

topics. In my conclusion, I propose a new narrative that removes Chaminade’s supposed

love, restores her agency, and defers the narrative to the artist performing the work

instead of the one that wrote it.

viii
 Chaminade Biography and Compositional Style

Cécile Louise Stéphanie Chaminade was a French composer and pianist born in

Paris on August 8, 1857. Her father ran an insurance firm in Paris thus securing their

social status as quite well off. Both of her parents were musical, but her mother, who was

a singer and pianist, gave Cécile her first piano lessons.1

The precise details of Chaminade’s education are hard to pinpoint, but Marcia

Citron’s bio-bibliography of the composer provides a relatively complete picture. Citron

states that by the late 1860s Chaminade was already beginning to compose, and her

musical talents were observed by Georges Bizet and Felix LeCouppey. LeCouppey was

so impressed with her, he requested Chaminade enroll at the renowned Conservatoire

where he taught.2 Unfortunately, such an arrangement was not a possibility for

Chaminade— her father would only allow her to take lessons with the professors and

would not permit her to enroll in the Conservatoire. In addition to lessons with

LeCouppey, Citron reports Chaminade studied with other faculty from the Conservatoire,

including, Antoine François Marmontel (piano), Augustin Savard (counterpoint), and

eventually with Benjamin Gounod.3

Although she wasn’t officially a student at the Conservatoire, Chaminade had

plenty of exposure amongst her peers. In fact, both she and her music made frequent

appearances at the most famous of Salons and concert halls in Paris during the

nineteenth-century. Chaminade made her professional performing debut in 1877 at the

1
Marcia J. Citron, Cécile Chaminade: A Bio-Bibliography (New York: Greenwood Press, 1988), 3.
2
Ibid., 4.
3
Ibid.

1
Salle Pleyel in Paris to favorable reviews.4 Over the next year, she continued performing

and premiered a number of her own works at the Salle Erard, including the Trio no. 1, op.

11 and various piano works.

The 1880s were productive for Chaminade and are evidence of her continued

development as a composer. In 1881, she wrote her first work for orchestra, the Suite

D’Orchestre, op. 20 which was premiered at the Société Nationale de Musique.5 Other

large-scale works she composed during this time include the opera, La Sévillane, and a

full-length ballet, Callirhoë. By 1888, Chaminade’s two subsequent orchestral works, a

concerto and a symphony, were premiered: the Concerstücke, for piano and orchestra,

and Les Amazones, for voices, chorus, and orchestra.6

The end of the 1880s was significant for Chaminade both personally and

professionally. In 1887, Chaminade’s father died which marked a turning point in her

musical productivity. The most notable effect this had on Chaminade was that she began

writing in smaller scale genres, composing almost exclusively works for solo piano and

Mélodies.7

Despite limiting herself to the composition of small-scale works, the 1890s

proved rather productive for Chaminade in terms of publishing works for voice and

piano. Citron posits that Chaminade’s attraction to the genre stemmed from the need to

support her household after her father’s death, and the market for Mélodies enabled her to

do so.8 Her compositional productivity during these years was complemented by a

4
Ibid., 5.
5
Ibid.
6
Ibid., 8.
7
Citron, Bio-Bibliography, 9.
8
Ibid., 11.

2
rigorous touring and performance schedule that took Chaminade and her music all over

France and Europe. Chaminade’s impressive mélodie output during this decade added 64

songs to her oeuvre, and with the success of her publications and performances,

Chaminade began to gain a dedicated following of fans, particularly in the United States.

Chaminade’s frequent appearance in performance at the concerts of the Société

Nationale de Musique likely proved beneficial to form relationships with composer and

flutist, Paul Taffanel, and Conservatoire director, Théodore Dubois— both Société

members. In 1902, Chaminade completed a work on commission from the Paris

Conservatory for the flute concours. The Concertino op. 107 was the result of the

commission and stands out amongst her works due in part to its lasting popularity. The

commission by Chaminade was one of the first newly commissioned works by composers

other than the flute professor from the Conservatoire.9

In 1908, Chaminade’s husband, a music publisher she married in 1901, died and

her compositional output suffered as a result.10 After his death, Chaminade continued to

perform to much acclaim though her compositional output slowed. In 1913, she was the

first woman composer to be awarded France’s highest award, the Chevalier of the Legion

of Honor. Between 1913 and 1914, Chaminade traveled to London to record piano rolls

for the Aeolian company, these recordings can still be heard today.11

She continued to compose and signed a contract with Enoch in 1917. Terms of the

contract guaranteed 12 compositions a year, which she fulfilled until 1928 when her last

9
Prior to Paul Taffanel’s tenure as professor of flute from 1893-1908, concours pieces were usually
composed by the professor of the instrument. During Taffanel’s tenure as professor, he began to
commission concours pieces from other composers.
10
Citron, 14.
11
Ibid., 18.

3
published work was issued. In 1925, and in declining health, she took up residence full

time at her villa near Toulon until 1936 when she moved to Monte Carlo where she lived

until her death on April 13, 1944.12

Chaminade’s Compositional Style

Chaminade’s compositional style is rooted in the aesthetic traditions of the

Romantic era. In her own words, “I am essentially of the romantic school, as all my work

shows.”13 Her music is identifiable by the detailed melodic work that evokes a singing

style no matter the instrument or voice for which it is written. Her exquisite melodies are

complemented by regular phrase structures and familiar formal schemes. Mostly

functional tonality with occasional use of extended harmonies contribute to cohesion of

the works when she ventures outside the norms of form.

Chaminade’s music is stylistically diverse, and incorporates various cultural

dance styles, and often mixes stylistic elements of the Renaissance, Baroque, and

Classical periods. Her mélodies, and incidentally the two pieces for flute and piano,

feature accompanimental patterns and styles that complement and act primarily in service

of elevating the melody.14 Melodies are frequently repeated and highly ornamented.

Chaminade’s Exacting Performance Requirements

Known to perform recitals of her own music, Chaminade was precise in her

performance instructions. In a December 1908 issue of Etude Magazine, she offers this

advice to the performer:

12
Ibid., 19.
13
Citron, 21.
14
The Concertino, op. 107 and Sérénade aux Étoiles, op. 142 are Chaminade’s only compositions for flute
and piano.

4
 ‘Read carefully all that is written.’ The tempo, nuance, accent, phrasing, having
all been minutely indicated, the interpreter ought, with reflection, to achieve
technical accuracy, and to approach very nearly what the author desires. But
besides what is written, there is that which one cannot write, cannot even explain;
that is, the ‘soul’ of a piece of music. The composer, in order to be understood,
must count on the intelligence and intuitiveness of his interpreter.15

Chaminade repeatedly elevates the importance of effective musical expression,

communication, and style. She clarifies the differences between affectations like those

used in Zingara, in which she says “The song in the second part should be played

‘appassionato’, the tone always full and vibrant…it is not tender, it is passionate; it is

therefore necessary to avoid all coquetry."16 Of the half dozen or so works she includes

instructions for in this article, Chaminade remarks on the musical character and the

necessary execution for all of them. She also comments on the nature of pauses, in which

she says “I wish to make a remark on pauses generally. Pupils seem to treat them as a

negligible quantity, [sic] and consider them as a waste of time. The pause, on the

contrary, plays a very important part in the musical phrasing, and so much are the big

things affected by small ones, the phrasing will be entirely spoiled if the player does not

hold it out for its full value.”17

Chaminade emphasizes this message again when she reviews Pierrette, saying,

“the piece demands strict observance of its import, the silences, accents, and in a word,

demands ‘poise.’ Beware of a lack of firmness, as that destroys the peculiar character is

desired to suggest, which is expressed by the word ‘chic,’ a banal word, but nevertheless

one well adapted to music, that cannot be replaced by any equivalent.”18 These exacting

15
Cécile Chaminade, “How to Play My Best Known Pieces,” The Etude, 26 no. 12, December 1908, 759.
16
The Etude, 758.
17
Ibid. 759
18
Ibid., 759.

5
instructions and encouragement from the composer only confirm that her works were

written with an intentionality that was in service of the music. For Chaminade, artistry

was essential, she tells us so herself.

Chaminade’s Concertino

Of her many works, the Concertino, op. 107 for flute and piano has experienced

an enduring popularity amongst flutists. This popularity is evident based on its inclusion

in Schirmer’s Flute Music by French Composers collection, a volume that has been

cemented in the canon for all performing flutists. In the 1989, an article was published

which attributed a story of unrequited love to the piece. This story, though doubtful to its

authenticity, has taken root and morphed the work into a sort of “coming of age” piece

for flutists who play it. This unfortunately has become a part of Chaminade’s biography

when performed, despite little evidence she intended the work to be perceived in this

way.

In my analysis of the Concertino, I examine the ways in which Chaminade

manipulates the form of a rondo to create a work that is musically effective and

expressively rich. I will argue that a tonal problem created by the juxtaposition of A and

A# is played out through the lens of the pastoral genre. And I’ll show how Chaminade

frames the Concertino in the pastoral expressive genre through her employment of

musical topics. In my conclusion, I propose a new narrative that removes Chaminade’s

supposed love, restores her agency, and defers the narrative to the artist performing the

work instead of the one that wrote it.

6
 Formal Analysis

Taken at face-value, it can be easy to dismiss the Concertino as just a short and

sweet little rondo that accomplishes the musical and technical goals of the commission.

But just below the surface, Chaminade’s unusual treatment of conventional form, in

combination with a tonal problem makes the work much more complex and dramatically

satisfying. Chaminade’s Concertino loosely follows the Rondo principle by utilizing

primary thematic material from the A theme in alternation with contrasting sections

aurally the work comes across as a rondo. While creating the semblance of rondo form,

Chaminade counters expectations by making two of the refrain sections the most

harmonically unstable sections of the work. In addition to harmonic instability, the phrase

structure of the outer refrain sections is more loose-knit than expected and accompanied

by a weakening of the cadential structures.

Chaminade’s version of the modified rondo form clearly delineates each section

and enhances the dramatic effect of the work overall. As one can see in Table 1,

Chaminade’s adjustments to the overall rondo structure are evident. Structurally, what

would be the last B section is instead replaced by a flute cadenza primarily based on the

primary theme but also features elements of the secondary theme before transitioning to

the final A section. Directly countering the conventions of the rondo form, outermost A

sections are the most unstable, modulating between multiple keys before ultimately

returning to D major; the inner sections are comparatively stable, working within a tonal

area before transitioning to a new key for a new section.

7
 Section Measures Tempo Primary key Secondary
area key area
Intro mm. 1-2 Moderato D major
A (Refrain mm. 3-32 D major A maj., B-flat
1) maj., B min.
B mm. 33-72 Piu animato B-flat major
C mm. 73-95 A tempo A minor
A’ (Refrain mm. 96-110 C major
2)
Cadenza mm. 111 F-sharp F-sharp major
and minor
A’ (Refrain mm. 112-135 Tempo 1 D major A maj., B-flat
3) maj., B min.
Coda mm. 136-152 Presto D-major D aug.
Table 1 Form of Concertino op. 107

The instability of the two outer refrains is one of the primary ways in which

Chaminade alters the form. As shown in Figure 1, the primary theme’s harmonic

instability forces it to lose its tight-knit organization while its continual, fragmented

repetition prevents establishing symmetry. The period structure of the primary theme

enables Chaminade to repeat the antecedent while continually adjusting the consequent

until she deviates from the theme entirely in measure 23. Rather than acting as a

transition into the B section, it’s used as a transition to get back to the home-key D-major.

The cadences in the first and third refrains, and how Chaminade modulates to new

key areas, is somewhat unusual and affects the trajectory of the form. The primary

theme’s period structure bear the typical cadential hallmarks—weak cadence at the end of

the antecedent and strong cadence at the end of the consequent, as shown in Figure 1. At

the end of the first statement of the theme, instead of cadencing in the home-key,

Chaminade cadences into the dominant where she repeats the primary theme.

8
 Figure 1 Period structure and cadences of the primary theme mm. 1-14

As she repeats the primary theme, the cadences get more and more obfuscated

despite the melodic material generally maintaining their period structure. There’s a clear

half cadence at the end of the antecedent in A-major, but the strong cadence that follows

subverts expectations. As shown in Figure 2, the tonic, A-major, morphs into a dominant

seventh chord setting up the modulation back to the home key. Instead of modulating

9
back to D-major however, Chaminade instead uses the remnants of the declamatory bass

to step down into a second inversion chord and modulates up a half-step to B-flat-major.

Figure 2 mm. 15-21

The penultimate modulation in the outer A sections moves to B-minor, the

relative minor of the home key (D-major). B-minor isn’t really tonicized however, and

pedal point interruptions on low A ensure that this new key won’t last very long. The

arpeggiation of an E-minor triad in the piano delivers a dominant A chord just in time to

act as a perfect authentic cadence into the home key to complete the A section, as shown

in Figure 3. Though technically in B-minor, these four measures of transition material

effectively function as a prolonged ii-V-I progression in the key of D-major, thus

rendering them even more effective when the primary theme reenters in measure 27.

10
 Figure 3 mm. 22-34, end of first A section

The third A section is almost the same as the first one. The only difference

between them, is that the third A section eliminates the antecedent phrase so that the

11
modulation to A-major jumps right into the consequent phrase that transitions the theme

into a new key, as shown in Figure 4.

Figure 4 Missing A-major Antecedent mm. 116-125

The inner A section that separates the C section and Cadenza is the most unique

of the three refrains in the piece. It fails to restate the primary theme in its entirety, and

though it does have cadential closure, it’s an incomplete refrain. Figure 5 highlights its

unique features, its key—C-major (bVII), the fragmented mixture of primary and

secondary themes, and the chain of secondary seventh chords that transition into the

cadenza. The cadenza that follows serves to affirm this as a refrain section as it develops
12
the primary theme. The return of the refrain at the close of the cadenza is not at all

unexpected, in fact, it’s the most anticipated rondo convention that is actualized in the

piece.

Overall, the refrain sections serve as a return to comfort and stability rather than

dramatic intensity. The fervor in which the primary theme is declared is somewhat lost in

the final return of the refrain, and only in the coda is it finally fully reestablished,

reaching its peak.

13
 Figure 5 Inner refrain section, mm. 96-110

The order and content of the inner sections of the rondo form are where

Chaminade makes the most adjustments to the structure of the work itself. Though it’s a

seven-part rondo, the B section is only stated once and the C-section immediately follows

14
it, replacing an opportunity to revisit the refrain. These two sections are comparatively

stable harmonically though their key areas are found through mode mixture: the B section

modulates to B-flat-major (bVI) while the C-section modulates to A-minor (v).

Thematically, they adhere to convention, developing their themes extensively, though

these sections lack the degree of repetition established in the refrains. Unlike

conventional rondos, the episodes serve to dramatically intensify the work, rather than the

repeated refrains.

The B section modulates to B-flat-major (bVI), eschewing the typical shift to the

dominant or relative minor. The secondary theme’s syncopation, register, contour, and

phrase structure provides contrast from the primary theme, as seen in Figures 6 and 7.

After the initial statement of the secondary theme, the B section also brings about more

interaction between the flute and the piano, in which both voices share fragments of the

secondary theme in turn. The melodic half-step becomes motivic in the last four measures

of the secondary theme and fragments of it prevent any attempts of restating the

secondary theme in full until the end of the B section.

Figure 6 Primary theme

15
 Figure 7 Secondary Theme

The C-section is organized like a development instead of an interior theme. It’s

made up of two parts that are almost equal in length and very similar in content, with

some notable deviations in the second part. As a development, elements of the primary

and secondary themes are elaborated on through virtuosic treatment. Figure 8 shows the

intense virtuosity in the flute part as it develops rhythmic ideas laid out in the primary

and secondary themes. The chromatic line in the piano is the only easily identifiable

unifying feature that links the episodes together.

The rondo form, and Chaminade’s alterations to it, would be less remarkable if

not for the way the form enables the work to function within the pastoral expressive

genre. The form also provides the ideal structure for the tonal problem to play out.

16
 Figure 8 First seven measures of the C-section, mm. 73-79

A Musical Problem

A musical problem is when a feature of a work cannot immediately be accounted

for as part of the whole. According to Murray Dineen, “the problem is solved by

explaining it in light of the whole work, as a logically related and thus a coherent part

thereof.”19 There are myriad ways a musical problem can be expressed (e.g., rhythmic,

timbral, tonal), in the case of the Concertino, the problem is a tonal problem, and it is

single pitch: A-sharp.

19
Murray Dineen, “The tonal Problem as a Method of Analysis,” Theory and Practice 30 (2005): 70.

17
 The tonal problem that arises in Chaminade’s Concertino is through the

opposition of the pitches A and A#. This opposition comes to the forefront in the coda,

which fully exposes the problem just before its resolution. The arrival at the coda fully

illuminates the extent of the melodic half-step’s disruption of the musical texture. The

tonal problem is made thematic itself via the melodic half-step motive that arises in the

secondary theme.

The opening A-section gives a brief glimpse of the role of A-sharp via an

incomplete statement of the primary theme in B-flat-major, as shown in Figure 9.

Initially, it seems as though this can be explained away simply by the merit of modal

mixture, in mm. 19-22. This modulation, shown in Figure 9, is more significant comes

just after a modulation to and restatement of the Primary theme in A-major.

18
Figure 9 mm. 15-26

19
 This modulation is only 4 measures long, but attempts to state the primary theme

in the new key in the flute part provides the necessary way station to modulate by another

half-step to return to a key signature with two sharps. The first three statements of the

primary theme in this section are generally unproblematic and reinforce their key area

and mirror each other in melodic and harmonic content. This modulation, in mm. 23-26,

however, uses extended harmonies by way of octave A’s as pedal points in the bass, the

melodic content in the flute changes, as does the harmonic rhythm, as shown in figure 10.

Figure 10 mm. 22-26

Unlike the other modulatory phrases, in which the bass note in the piano steps

down a half-step to facilitate the key-change, this modulation is facilitated by the half-

step upward in both the flute and piano parts, as shown in figure 10. It turns out the key

of B-flat was more disruptive to the development of the melody. This is the first time in

20
which both voices work together to complete the harmonic shift, and in which the flute

deviates from restatements of the primary theme.

In the B section, the tonal problem is confronted head-on in a modulation to B-

flat-major — the flatted sixth of home-key D-major. Instead of a stable melodic idea

taking a tour through different key areas, Chaminade embeds the instability of the

melodic half-step directly into the melody in the flute. She does so by using the period

phrase structure to reframe the consequent phrase in the flute’s melody, as seen in figure

11. This coincides effectively with the chromatic declamatory bass’s appearance in the

piano, further destabilizing the section which can be seen in figure 12.

Figure 11 Secondary theme

21
Figure 12 Transition from the A section (mm. 31-32) into the B section (mm. 33-40)

The Secondary theme is only ever completely stated in the key of B-flat major

which lends stability to the section, but chromatic interruptions or fragments are never far

away. Like the A-section, the B-section also has a final statement of its primary theme up

an octave. Unlike the A-section however, here, the melodic half-step is repeatedly

emphasized in the flute as a means of modulating for a transition in the next section, in

mm. 69-72. Figure 13 shows the extended continuation and emphasis of the half-step

motive.

22
Figure 13 Half-step motive used as a means of modulation into the C-section

The C-section that begins in measure 73 casts the problematic B-flat in even

sharper relief by modulating to A-minor. Brief forays into F-major taunt the possibility of

the B-flat reappearing but the flute’s determinacy to arpeggiate F-major triads eschews

that possibility as shown in figure 14.

23
 Figure 14 Brief foray into F-major, mm. 79-82

Figure 15 C-section transition into the A'-Section, fragment of Primary theme in A-

minor, mm. 95-97

24
 By the time the C-section transitions into the first return of A section material, it

seems as though the A-natural is cemented as the dominant pitch. Rather than A-minor,

the A’-section transitions into its relative major—C-major. This is evident in retrospect

based on the subsequent melodic and harmonic content that immediately follows the

fragment of the primary theme that appears in measures 96 and 97. As shown in figure

16, secondary theme material also comes back which supports the key of C-major.

Figure 16 Affirmation of C-major in the A'-section, mm. 98-109

25
 The return to A in measure 96 seems to ameliorate the problematic pitch. There

are fewer chromatic alterations in the section and the half-step motive only appears at the

end of the section as a transitional device into the cadenza. As shown in in figure 17, the

reappearance of the melodic half-step motive is appropriate because it is heavily featured

in the cadenza.

Figure 17 half-step motive transitional device, flute part mm. 108-110

The cadenza, which occupies m. 111, relies on the opposition between A and A#

that arises as the tonal problem. The flute solo starkly highlights the contrast between the

two pitches, as seen in figure 18. Here, the Primary theme is cast in juxtaposition with the

melodic half-step motive. Extended arpeggiations and chromatic neighbors emphasize the

instability of the section. And the tonal regions traversed by the flutist only serve to draw

out the tonal problem through juxtaposition of A and A-sharp.

The way Chaminade links the Cadenza into the final return of A and gets back to

D-major is quite brilliant. She uses the mediant, F-sharp, of the home key we’re trying to

get back to as the tonic pitch for the cadenza. This then positions the problematic pitch,

A-sharp, as the third scale degree, rather than resolving it, she draws out the conflict here

in the cadenza. After F-sharp-major gives way to F-sharp-minor, Chaminade then uses

that third scale degree as an access point back to D-major. She doesn’t immediately

acquiesce to the A-natural however. A series of seventh chord arpeggiations on A-natural

26
give the appearance of that, but the melodic half-step reappears just in time to reintroduce

the A-sharp, as shown in figure 18.

Figure 18 m. 111, cadenza

The A’-section that returns at the close of the cadenza treats the tonal problem in

the same ways as it does in the A-section that opens the piece.

The coda clarifies the function of the B-flat/A-sharp as an antagonist to the

idealized pastoral soundscape. Wherever B-flat (or its enharmonic, A-sharp) appeared, it

brought with it harmonic and melodic instability. In the beginning it may have seemed

innocuous, but by the Coda it’s glaringly obvious that that pitch has become a problem.

27
 Figure 19 Transition from A'-section to the Coda, mm. 132-139

In the Coda, the tonal problem comes to a head by infiltrating the home-key of D-

major. The abrupt delivery from the Primary theme into a D-augmented chord by the

piano comes across as a shock. Not only does the augmented chord subvert expectations,

but the abrupt tonal shift coincides with an abrupt tempo-change to Presto. The D+ chord

here functions as a dominant chord instead of a tonic chord.

As bits of the declamatory bass attempt to guide the section, Chaminade offers the

half-step motive its final chance in an ossia option, as shown in figure 20. The rapid scale

work gives way to a series of secondary dominant chords in the piano while the flute’s

trills from G#/A dispel the problematic note. That is, until the French augmented sixth

chord appear in m. 145, planting octave B-flats in the bass voice of the piano.

28
Figure 20 ending of the coda, mm. 140-152

29
 The augmented 6th chord, rather than affirming Bb, provides exactly the vehicle

needed to dispense with the problem. As she had already done several times before,

Chaminade uses the bass voice of the piano to step down another half-step to change the

tonal trajectory of the work. A final arpeggiation in measure 146—akin to those in the B

section, sheds the final appearance of A# and delivers the dominant of the home-key of

D-major.

That A-natural was the winning pitch is emphasized repeatedly in the flute’s

remaining trills. The piano reaffirms the key of D-major by reiterating the triplet scale

figures. After extended trilling and a final arpeggiation of D-major, the piece comes to a

bombastic close.

Topical Analysis

Pastoral as Expressive Genre

The Concertino uses the pastoral expressive genre as the expressive framework of

the piece. Robert Hatten defines the pastoral expressive genre in his book, Musical

Meaning in Beethoven. As an expressive genre, the setting of the pastoral acts as a frame

for the dramatic structure, while also serving as the fundamental topic that coordinates

features of the work.20 The expressive trajectory is broadly pastoral (i.e., serene, idyllic,

etc.) but defined by tragic interruptions that create moments of crisis. Hatten states that,

“the mixing of tragic elements endows the pastoral with greater seriousness and the

elevation of style in turn supports the interpretation of the pastoral as a poetic conceit for

20
Robert Hatten, Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (Indiana:
Indiana University Press, 2004), 92.

30
a spiritual state of innocence (or serenity) subject to the disturbances of tragic experience

(or remembrance).”21 This is the expressive landscape which governs the Concertino.

The expressive states of the Concertino are clearly delineated by the sections of

the rondo form. The piece is governed broadly by the pastoral and declamatory bass

topics in the refrain sections, while the episodes are characterized by the shift to the

ombra and lament bass topics.22 The pastoral exerts its control over these irruptions and

constantly attempts to restore the serene mood set forth in the A sections.

These expressive states can be understood as contributing to the narrative of the

piece based on their function as lyric or narrative time. In The Sense of Music, Raymond

Monelle characterized the lyric time temporal state as one signified in presentational

sections in which the melody comes to the fore and in which harmonic and phrase

structures are relatively stable.23 Narrative time, in contrast, is signified in sections in

which harmonic and phrase structures become more complex and in which there is

generally an increase in rhythmic activity. Put simply, lyric time is generally associated

with themes, while narrative time is associated with passage work. The narrative and

dramatic path can be understood through the shifting of the temporal state in conjunction

with changes in topical signifiers.

Throughout the Concertino, topical elements contribute to its narrative and formal

development. Topics such as the melodic half-step sigh motive (seufzer), lament bass,

ombra, brilliant and singing styles, and pastoral appear so frequently they become

significant through their use, juxtaposition, and manipulation. The interactions of these

21
Ibid., 96.
22
See pg. 53 for definition of the ombra topic.
23
Raymond Monelle, The Sense of Music: Semiotic Essays (New Jersey: Princeton University Press, 2001),
256.

31
topics within the form create distinct periods of lyric time contrasting with periods of

narrative time. These expressive states are evident by the use of disparate topical

elements which contribute to the emergence of meaning via narrative. Thus the dramatic

and narrative structure of the Concertino is built within a pastoral framework as an

expressive genre, not just a musical topic.

Declamatory Bass

The lament, as characterized by William Caplin in the Oxford Handbook of Topic

Theory, is both a musical topic and schema. As both topic and scheme, it is not only a

subject of musical discourse that carries expressive meaning but also a compositional

lexicon from which composers could draw from and present in various guises.24

Caplin defines the lament schema as a tetrachord bass line that descends stepwise,

diatonically or chromatically, from the tonic scale degree to the dominant. For Caplin, the

lament bass has both formal relation to form and temporal framing qualities i.e., the

lament not only plays an expressive role topically, but a functional role in regards to

form. As a topic, Caplin refers to the expressive qualities and affect it often invokes:

mourning and loss.25 Caplin’s discussion regarding the lament’s formal function centers

around the lament being capable of expressing the range of beginning, middle, or ending

framing temporalities. These framing temporalities become relevant for the discussion as

to how Chaminade applies the lament bass in the Concertino.

The lament bass topic is used differently in the Concertino than convention would

ordinarily dictate. Chaminade uses two versions of a descending tetrachord in the

24
Caplin, William E., “Topics and Formal Functions: The Case of the Lament,” in The Oxford Handbook
of Topic Theory, ed. Danuta Mirka (Oxford: Oxford University Press, 2014), 415.
25
Ibid., 417.

32
Concertino: a chromatic minor mode tetrachord and a diatonic, major-mode descending

tetrachord. The chromatic minor mode tetrachord functions in a way similar to the

chromatic lament bass that Caplin describes. This tetrachord, which I will refer to as the

lament bass, appears in the episode sections, functioning in the conventional way. I argue

the major mode tetrachord, on the other hand, acts more like a declamatory bass than a

lament. The declamatory bass maintains the formal functions of the typical lament bass

but turns its expressive content on its head. I will label this version of the descending

tetrachord the declamatory bass because of its unusual appearance and thematization in

the diatonic major mode, its initiating function, and its refreshed and joyous character.

The declamatory bass permeates the A section and is rendered even more effective in

juxtaposition with the chromatic lament bass in the B and C sections.

The declamatory bass permeates the A sections and is rendered even more

effective in juxtaposition with the chromatic lament bass in the B and C sections. As a

topic in the A section, the declamatory tetrachord functions as a signifier of initiation. Its

efficacy conveys an initiating or beginning function which drives the Concertino forward

and signals the return of the rondo’s refrain and moves to lyric time.

The first appearance of the declamatory bass has an initiating function and is in

the two-bar introduction (fig. 21). The descending tetrachord establishes the key of D-

major and, unbeknownst to the listener at the time, establishes one of the primary

harmonic motives of the piece. In its diatonic major form, the declamatory bass signals

the initiation of the A section, and each of its subsequent returns. It is almost always in

quarter notes, embedded into the very pulse of the music. When it has completed its

initiating function at the beginning of a new section or modulation, it then moves to an

33
inner voice in the piano where it lies in wait until it regains control of the harmonic

rhythm.

Figure 21 Opening Declamatory Tetrachord mm. 1-2

Despite the harmonic instability of the A section, the declamatory tetrachord is

generally preserved through each modulation. This beginning-temporality is signified not

only by the presence of the declamatory bass, but by the modulations it accompanies or

the change in melodic content from the flutist. When the first A section modulates to A-

major, the true declamatory bass is utilized in the same way it is at the introduction (fig.

22).

Figure 22 Declamatory Bass in modulation to A major in the first A section, m. 11

34
 Figure 23 Declamatory bass restatement mm. 27-30

Although most of the appearances of the tetrachord in the A section appear in the

bass voice of the piano, there are instances of it temporarily relocating to an inner voice.

As an inner voice, the declamatory tetrachord has a being-in-the-middle function and

facilitates transitions into contrasting sections (fig. 23). As one can see in Figure 23, the

descending tetrachord in the inner voice signals the beginning of transition to the B

section through a modulation to D-major. After which, it moves to the lowest voice of the

right hand of the piano as transition material begins.

The declamatory bass in the first return of the A section is more subtle. The lack

of a full statement of the Primary theme, and interruptions of Secondary theme material,

obfuscate the descending tetrachord that is buried in blocked chords in the piano. Figure

43 shows the last appearance of the declamatory bass in the A’ section before it

35
disappears giving way to a Secondary theme interruption. Its subtly in this section

contribute to its “being-in-the-middle” relation to the form at this point.

After the cadenza, the return of the A section in measure 112 restores the

declamatory bass and is marked by the pastoral topic. The character here is less

declamatory than the beginning of Concertino, rather, it’s comparatively mollified in its

reappearance. The reappearance’s initiating function is rendered less effective by its

placement in the same register in which the flute resumes the Primary theme as shown in

Figure 24.

Figure 24 mm. 112-115

The A section’s return is slightly altered in comparison to how it first appeared.

The Primary theme is only played once in A-major and the piano takes the theme over

when the section returns to D-major. The declamatory bass is pervasive. Initially, in a

faster harmonic rhythm changing each beat and then later at a slower harmonic rhythm as

part of a pedal point. Figure 24 shows the faster versus the slower version that appears in

figure 25.

36
 Figure 25

At the B sections, the chromatic tetrachord’s first appearance is obfuscated by its

placement in the inner voice and the prevalence of the flute melody (fig. 26). As shown in

Figure 26, Chaminade avoids re-applying its initiating function to the new section until

she moves it back to the bass of the piano in the consequent phrase of the Secondary

theme. This relocation is significant, not only because of the initiating function of the

lament bass, but because of the stringendo indication and proximity to the melodic half-

step motive that creates the tonal problem of the work.

37
 Figure 26 mm. 33-40

The B section stability arises from the secondary theme which is only fully stated

in the key of B-flat major. As the Secondary theme develops, the declamatory bass

transforms into a chromatic lament bass realizing the being-in-the-middle function. As

the flute develops the theme, transforming it through chromatic scales and arpeggios, the

bass line reverses itself to become an ascending tetrachord (fig. 27).

38
 Figure 27 Secondary theme transformation, ascending bass line transformation.

The C-section subverts expectations by replacing what would’ve been a return to

A in a typical rondo. This effect is enhanced by the loss of the declamatory bass which all

but disappears. As shown in Figure 27, the ascending bass that was interspersed in the B

section becomes the dominant presentation in the C-section (see mm. 73-79). This

alteration moves the chromatic bass as it ascends and descends to an inner-voice over a

pedal point that contributes to the “being-in-the-middle” temporality. Figure 28 shows

this movement to the inner voice and demonstrates how the flute maintains the key of A-

minor throughout the chromaticism.

39
Figure 28 First seven measures of the C-section. mm. 73-79

40
 Figure 29 Ascending/Descending Chromatic Declamatory Bass over Pedal Point in
the C-section, mm. 84-86.

The C-section is neatly contained in two sections, each about eleven measures

long, both closing with the same French augmented sixth chord. The augmented sixth

chord is preceded by the declamatory bass returning to the bass/lowest voice in the piano.

In both cases, the augmented sixth chord resolves first to a second inversion A-minor

chord that then moves to the dominant, E-major. Figure 30 shows the second instance of

41
this which transitions into the return of the A section and a near complete restoration of

the declamatory bass.

Figure 30 Relocation of the Declamatory Bass leading in the French +6

Figure 31

42
 There are only ever glimpses of the declamatory bass in the Coda. When it does

appear, it is either foiled before it can be completed or it serves as a vehicle to a

secondary chord. Figure 31 illustrates the last of these instances, this particular

occurrence is first diatonic using scale degrees 6-5-4-3 then chromatic using scale

degrees 6-b6-5-#4. In this instance, the direct juxtaposition of the diatonic then chromatic

form provides the only instance of an ending function.

Figure 32 Declamatory bass used to get to a V43/iii

Overall, the declamatory bass in Concertino functions as a harmonic motive

whose various guises create cohesion in the modified rondo form of the work. The

juxtaposition of the diatonic version in the A sections and the chromatic version in the B

and C-sections contributes to the narrative and expressive trajectory. The flexibility of

temporal qualities that the bass portrays makes for the ideal unifying feature of the work.

43
 Pastoral

In The Musical Topic, Raymond Monelle traces the roots of pastoralism and its

mixed critical reception stating, “[t]he prejudice against pastoral has made it harder for

modern writers to understand the prevalence of the genre throughout Western literature,

and above all to see that the pastoral was an allegory of music; to understand that music

was for Europeans simply the pastoral without its shepherds.”26 Using literature as a

spring-board, Monelle illustrates how particular ideals and themes became codified as

signs of the pastoral and how those aspects took root and eventually found their way into

music.27

Monelle characterizes pastoralism as “an allegory of the imagination, and the

unmeaning lyricism of pastoral verse is an allegory of music. In pastoralism, as in music,

there is no concept of ‘real’. Emotion and desire are utterly free; the imagination is

responsible only to the text, not to the world; time is suspended in a lyric present.”28 In

his book Interpreting Musical Gestures, Topics, and Tropes, Robert Hatten elaborates on

the development of the Pastoral topic in the early Romantic era:

“I am presupposing the cultural availability of a pastoral mode that may include

various aspects of the following scenario: (1) an individual retreating from a
complex and less euphoric reality (2) in an attempt to regain lost simplicity,
innocence, happiness, or the sublime—or to imagine a similarly euphoric present
or future idealized state (3) by inhabiting an idealized space of reflection or
serenity that emulates those envisioned qualities, (4) and that may also evoke the
monumentality of a landscape with its poignant juxtapositions of geological time,
historical time, and individual memory.” 29

26
Monelle, Raymond. The Musical Topic: Hunt, Military and Pastoral. (Bloomington: Indiana University
Press, 2006), 185.
27
Ibid., 186.
28
Ibid., 189.
29
Hatten, Robert. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, and Schubert.
(Bloomington: Indiana University Press, 2004), 56.

44
 Hatten’s work on the pastoral also addresses the temporal shifts that arise from

what he considers “sharp musical oppositions.”30 These oppositions are applied to the

pastoral topic in the Romantic era via “emphasis of subdominant harmony, modulation to

the flat side, undercutting expressive climaxes, employment of consonant appoggiaturas

and other less dissonant irruptions or other disruptions that may occur;” characteristics

Hatten deems additional to the principal of the topic evoking what he terms “mollified

tension and intensity.”31

Generally, the pastoral topic may signify an idealized space or time, retreat to

nature or more natural world, pure or modest love, pleasant simplicity, naïveté,

goodheartedness or innocence. As signifier, the pastoral topic may be identified through

compositional elements on the surface of the music by use of pedal point or drone, slow

harmonic rhythm, simple melodic contour with gentle climaxes, compound meter, major

mode, parallel thirds, and/or subdominant inflection. The additional signifiers from

pastorale genres like that of the musette and siliciano, in combination with earlier listed

elements, may also invoke the pastoral topic via meters and dance rhythms that fulfill the

typical pastoral character. Indexical signs of the pastoral may relate to instruments that

evoke the topic, like the flute or bagpipes for instance.

The Pastoral in Concertino op. 107

The pastoral is employed in two ways in the Concertino, as both topic and

overarching genre. As a genre, the pastoral permeates the nature of the work and

30
Hatten, Interpreting, 56. Sharp musical oppositions include parameters of: mode, key, theme, topic,
texture, meter, tempo, and style.
31
Hatten, Interpreting, 56.

45
positions tragic and folk elements of the music in opposition. As a topic, elements that

signify the pastoral appear many times over the course of the Concertino and

dramatically guide the expressive states.

The pastoral topic as it appears in op. 107 is most obvious at the final return of the

primary theme that begins at the termination of the cadenza in m. 112. This moment has a

markedly different rhetorical effect than any other time the primary theme appears, much

of which points to the pastoral topic. The soft dynamic marking, the voicing of parallel

thirds and sixths in the piano, and diatonic major tonality all work to signify the pastoral

topic. These signifiers of the pastoral topic evoke the sweet innocence and nostalgia the

topic has come to signify historically. Rather than celebrating the realization of the voice

breaking free into a large form, the tone is soft and tender, reflective of an almost

resigned acceptance that the moment was there and now it’s over.

Figure 33 Pastoral topic mm. 112-115

The pastoral topic isn’t limited to the final refrain in op. 107 however, as allusions

to it appear all over the Concertino from the very outset. Chaminade’s consistent use of

striking musical oppositions within a rondo form maintain the dramatic trajectory of the

piece and uphold Hatten’s idea of “mollified tension and intensity” consistent with the

46
Romantic evolution of the pastoral. In op. 107, a climax proffered by a modulation is

undercut when Chaminade modulates again within a few measures in a section that

generally offers tonal stability. This happens multiple times in the outer most A-sections,

as shown in figure 33.

Figure 34 Undercutting of climaxes via modulations/mode mixture.

Chaminade upholds Hatten’s pastoral characteristics by modulating to the flat

sixth in the first episode, even as ombra and lament bass topics begin invading the

musical texture, as shown in figure 35. The topical changes are consistent with the use of

47
the pastoral as expressive genre, in which the calm serenity of the pastoral is interrupted

by tragic elements.

Figure 35 Transition from the pastoral A section to the B section in a major flat key.

Even in the inner A section, in which the primary theme fights for prevalence, the

parallel thirds of the pastoral topic remain. The joyful and declamatory nature of the

descending tetrachord fades slightly through repeated blocked chords in the piano, the

initial presentation in minor-mode, and the failure to ever reach the final pitch of the

tetrachord, shown in figure 36.

48
 Figure 36 mm. 95-101

The pastoral topic hangs on until the very end of the piece. Subdominant

inflections, parallel thirds, and fragments of the primary theme abound through the coda,

mm. 136-152. Figure 37 shows the final seven measures in which the jump bass and

parallel thirds in the piano lend additional support to the pastoral.

49
 Figure 37 mm. 146-152

Ombra Topic

The ombra topic, first introduced by Leonard Ratner and expounded upon by

Clive McClelland in the Oxford Handbook of Topic Theory, generally signals a change

in mood to terror, a sense of shadowiness, or approaching fear, and in dramatic contexts

may signify the supernatural.32 Although referencing music from the second half of the

eighteenth-century, McClelland argues “by introducing discontinuous elements into the

music composers were aiming not only to depict horror but actually to convey an

32
McClelland, Clive. “Ombra and Tempesta,” in The Oxford Handbook of Topic Theory, ed. Danuta,
Mirka (Oxford: Oxford University Press, 2014): 279.

50
unsettling feeling to the audience, and the use of ombra was therefore highly effective as

a rhetorical gesture in symphonies.”33

The significance of the ombra topic in Chaminade’s Concertino is that it provides

a topical contrast in the episode sections of the modified rondo form. Consistent with the

pastoral as an expressive genre, the presence of the ombra topic serves as an indicator of

crisis in the otherwise idyllic pastoral landscape. In these sections, the ombra topic also

signifies a shift from lyric time sections (i.e. pastoral sections) to narrative time sections.

These narrative time sections are significant because of the ways in which they contribute

to the narrative of, as well as, the formal progress of the piece. The use of the ombra topic

is an essential element of the Pastoral expressive genre’s dramatic structure and

contributes to the field of topics that organize the expressive states in the Concertino.

In the Concertino, the ombra topic is signified in several key ways. Its appearance

signifies a move to narrative time in which harmonic and phrase structures become more

complex. The topic is first marked by the deceptive and unusual modulation to a flat key,

in this case, the flatted sixth scale degree of the home-key of the piece (e.g. D-major

modulates to B-flat-major). Additional structural elements, including slower harmonic

motion, and increased use of diminished seventh chords also evoke the ombra topic.

Musical effects, including tremolos, chromatic lament bass, and chromatic step-wise

melodies also signify the ombra topic in these contrasting sections.

The B section’s change in character, melody, and harmony all imply a shift in the

musical discourse which is affirmed by the application of ombra elements. As shown in

figure 38, this shift occurs when the secondary theme enters and the pastoral topic gives

33
Ibid., 280.

51
way to the ombra topic. Although McClelland indicates that tonal instability is a hallmark

feature of the ombra topic, the B section (mm. 33-72) of the Concertino generally

commits to the key of B-flat major on a global level. However, local instability within the

bass line and the thematized melodic minor second contribute to the ombra affect that

permeates the section. Harmonic dissonances arise from the harmonization of the

chromatic declamatory bass topic in the piano with a chromatically oscillating flute solo

above as seen in Figure 39.

Figure 38 mm. 31-34

Figure 39 mm. 38-40

52
 Ombra characteristics invade the secondary theme melody that is played by the

flute as well. This melody not only descends but is written in the middle and low register

of the flute’s range. In addition to the low register, the syncopation and mixture of duple

and triple subdivisons contribute to the rhythmic unease of the section created by these

ombra charactersitics.

In the C-section, the ombra topic continues to contribute to a general disturbance

of the musical texture. Other more general ombra characteristics, like minor mode and

dramatic dynamic changes permeate the section and create more tension. These moments

are intensified by the troping of the brilliant style in the flute part. Figure 40 shows the

transition from the B section into the C-section where the ombra topic’s signifiers change

and are troped with the brilliant style.34

34
The brilliant style is characterized by rapid passages for virtuosic display. It’s often invoked in contrast
with the singing style. As it is here in the Concertino, the singing style applies to the Primary theme, which
is then cast into contrast with the Secondary theme, or the virtuosic developmental passage in the C-
section.

53
 Figure 40 Transition from the B section into the C-section (Vivo) mm. 71-79

A few interesting things happen that are directly related to the use of the ombra

topic when the A section returns in measure 96. The diatonic declamatory bass reappears

but the major mode does not. This A section is first overcome by the pull of the minor

mode that dominated the C-section before it. The primary theme material we do get are

all just fragments of it in various minor keys. Meanwhile, these attempts at stating the

Primary theme are interrupted by fragments of the Secondary theme in major mode as

54
shown in figure 41.

Figure 41 Transition from the C-section into the A'-section, mm. 95-101. Fragments
of the Primary theme are shown in the piano in mm. 96-97 and 100-101

By the end of the flute’s cadenza and re-entry into an A section in m. 112, the

ombra topic is dispensed with until the coda that begins in measure 136. The shift in

discourse first seen in the B section (refer to Figure 41) is ultimately played out here in

the Coda in which many different elements undergo a radical shift. In the coda, the

distinction between ombra and tempesta characteristics becomes more blurred as they are

troped together to create a dramatic ending. The use of augmented chords, bold

chromaticism, rapid scale passages, at an agitated, fast tempo signify the ombra topics

and their use is quite effective. More fragments of the primary theme in the piano

undercut the flute’s attempt at ending the work with a trill and termination. Figure 42

illustrates this dramatic showdown, in which ultimately D-major wins out.

55
 Although the ombra topic is usually signified by a slower, somber tempo,

Chaminade uses a faster tempo so that the dramatic effect of the composition continues to

build. Despite the lack of explicit supernatural reference in the Concertino, in some cases

ombra topic may refer to a more celestial temporality which draws on more of the

pastoral allusions Chaminade incorporates into the work. Either way, the effect the ombra

topic has on the first episode of op. 107 is jarring, emotionally evocative, and musically

dramatic all fulfilled and executed through the topic’s unsettling characteristics.

56
Figure 42 Coda section minus the first four measures (mm. 140-152)

57
 Conclusion: An Alternative Narrative

In 1989, an article was published in the Flutist Quarterly that referenced a story in

regard to Chaminade’s Concertino op. 107. In the article, the author wrote the following:

“An interesting story, which may or may not be based in fact, is one concerning
Cecile Chaminade’s interest in Gaubert. Chaminade, a woman twenty-two years older
than Gaubert, became infatuated with the young debonair flute virtuoso. In a [sic] effort
to gain his interest and possible affections, she wrote the now famous Concertino, op.
107 for flute and orchestra or flute with piano accompaniment. It was
selected as the concours piece at the Conservatoire in 1902 and has remained one of
the most popular flute solos to this day.”35

The article and story were referenced again the following year in an article by

Cécile Tardif that was also published in the Flutist Quarterly. Tardif clears up some of

the details surrounding the Concertino, including details on the commission requested by

Dubois, as well as the marriage that Chaminade had entered into in 1901, the year before

the commission took place.36 Additionally, Philippe Gaubert graduated from the

Conservatoire in 1894 and would not have participated in the concours in 1902.

Nevertheless, the story has taken root amongst flutists and is so often repeated

that it has taken on a new role that creates a narrative of unrequited love that is

supposedly expressed by Chaminade through the music. As a result, Chaminade’s most

famous work and reputation rests on a false narrative that only serves to diminish her

beautiful and clever composition to a love story. And after all, how many young flutists

can relate to a story of unrequited love?

35
Penelope Fischer, “Philippe Gaubert: French Musician Extraordinaire.” The Flutist Quarterly vol. 14, 3
(Summer 1989), 18.
36
Cécile Tardif, “Cécile Chaminade and the Concertino, op. 107” Flutist Quarterly vol. 15, 2 (Spring
1990), 20.

58
 The Concertino, op. 107 by Chaminade is not going anywhere anytime soon for

flutists because it is so well established in the standard repertoire, however, agency can

be given back to Chaminade if there is perhaps another story to go along with the work.

Rather than basing the story off of rumors, a narrative can be supported and signified by

particular musical elements that trigger clear associations with styles, genres, and

expressive meanings.

The narrative I propose ties into the way teachers use this piece to help a flutist

find their own voice. Instead of using Chaminade as the subject of the narrative, I

propose the flutist centers themself as the subject, or the narrator of their own story. The

pastoral is so often used to signify a retreat to an idealized state, this retreat turned inward

in the Romantic era in ways that it makes more sense to center oneself in the story. Tragic

irruptions that disturb the pastoral evoke troubles that all musicians encounter in their

development. For the students that can’t yet relate to a story of unrequited love, I offer a

narrative that fits their own personal artistic journey.

In the Concertino, the pastoral as a genre governs the expressive states of the

rondo form which I use to affirm this narrative. The pastoral A sections signify the idyllic

state we return to when we are at peace with our instrument and ourselves. We relax,

even luxuriate, in the singing, diatonic melody that shows off all of the best features of

the instrument’s voice. We find comfort in the ease of the scale patterns and subtle

ornaments of the melody. The B and C sections bring out conflict through sudden

changes to ombra and brilliant style topics. For an artist developing their voice, these

sections signify the outside forces that negatively affect our performance. When we leave

the safety of our practice rooms and put ourselves into the world.

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 The declamatory bass that introduces the piece and begins the first A section

signals to the flutist that everything is well. They can sing their song and nothing is in

their way. Through key changes, they are secure and confident with their voice. In the

second A section, there’s a loss of confidence. Bits of the primary theme are there but

become obfuscated by piano interjections repeating the same thing, or even the flutist

deviating into secondary theme fragments. In the cadenza, they begin to reassert themself

more readily. The return of the primary theme in the final refrain seems subdued but in

reality, any doubt has been shed and peace has returned.

The crises signified by the ombra and brilliant topics, combines with a shift to

narrative time in the B and C sections. The technique required to execute these sections

could trip up even the most seasoned player and the sparse piano does nothing to cover

up technical deficiencies. The inner sections are where the flutist must fight or take flight.

Undulating tremolos and lament bass topics abound so that any hint of weakness could

lead to disaster. This is the moment: the audition, the competition, the recital, etc. it all

leads up to this.

As the piece develops, so too does the flutist. Each return of the refrain reaffirms

their journey is the right one. Eventually, the technical demand subsides, the primary

theme returns, and all is well. By the time they reach the coda, the flutist is so sure of

themselves that even an A-sharp won’t throw them off.

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 References

Caplin, William. “Topics and Formal Functions: The Case of the Lament,” in The Oxford
Handbook of Topic Theory, edited by Danuta Mirka, 415-452. Oxford: Oxford
University Press, 2014.

Chaminade, Cécile. “How to Play My Best Known Pieces,” The Etude, 26 no. 12,
December 1908, 759.

Citron, Marcia. Cécile Chaminade: A Bio-Bibliography. New York: Greenwood Press,

1988.

Dineen, Murray. “The Tonal Problem as a Method of Analysis.” Theory and Practice 30
(2005): 69-96.

Fischer, Penelope. “Philippe Gaubert: French Musician Extraordinaire.” The Flutist

Quarterly 14, no. 3 (Summer 1989), 17-24.

Hatten, Robert. Musical Meaning in Beethoven: Markedness, Correlation, and

Interpretation. Indiana: Indiana University Press, 2004.

Hatten, Robert. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven,
and Schubert. Bloomington: Indiana University Press, 2004.

McClelland, Clive. “Ombra and Tempesta in The Oxford Handbook of Topic Theory,
edited by Danuta Mirka, 279-300. Oxford: Oxford University Press, 2014.

Monelle, Raymond. The Sense of Music: Semiotic Essays. New Jersey: Princeton
University Press, 2001.

Monelle, Raymond. The Musical Topic: Hunt, Military and Pastoral. Bloomington:
Indiana University Press, 2006.

Tardif, Cécile. “Cécile Chaminade and the Concertino, op. 107” Flutist Quarterly vol. 15,
2 (Spring 1990), 20.

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