![]() ![]() He retains the more densely chorded "hee-haws" as in the original, and later doubles the top notes with the flute, making these dissonances more poignant and delightful. Moyse distributes the notes of the little "hee-haw" dissonances between the two instruments (simultaneously, an upward figure for the flute and a downward figure for the piano), which makes their timbre sharper and more contrasting. ![]() The charming melody is given over to the flute. "Le petit âne blanc." (The Little White Donkey.) is transposed a half step higher than the piano original to G major, which makes the piece more playable on the flute and makes the timbre somewhat lighter. Similarly, the staccato crystalline chords that accompany "La cage de cristal." (The Crystal Cage.) are beautifully distinguished from its childlike melody. "Dans la maison triste" (In the Sad House), with its elusive three-part mini-story is also enhanced by this same instrumental separation, especially in the easier-to-follow 1940s-romantic-mystery-film-score chromatic lines in the first part. The scoring of the music for the two separate instruments does, however, make the feeling of the piece more "doux et mélancolique" (sweet and melancholy). ![]() Six of these ten charming little pieces, originally written for the piano by Ibert, were arranged in 1933 for flute and piano by Marcel Moyse.įor "La meneuse de tortues d'or." (The Leader of the Golden Tortoises), the sweet, droll melodic line expressing the movement of the "slowpoke" is totally given over to the flute, but other than that, few additions or changes are made to the piano original except for an occasional doubling of a bass figure in octaves. ![]()
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