by Layne Anspach
This month, CMC will focus on Jean Papineau-Couture’s Suite for flute, clarinet, bassoon, horn, and piano (1947). Papineau-Couture (1916-2000) was a Canadian composer and administrator. He studied composition with Quincy Porter at the New England Conservatory and later with Nadia Boulanger. Papineau-Couture taught at the Quebec Province Conservatory (Montreal) and then at the University of Montreal where he eventually became dean. Serving as president of numerous organizations, including the Canadian League of Composers, the Canadian Music Council, and the Canadian Music Centre, he proved to be an effective administrator. His compositions range from solo pieces to large orchestral works.
The Suite for flute, clarinet, bassoon, horn, and piano was composed shortly after his appointment to the faculty of the Quebec Province Conservatory. The work is considered part of his early neoclassical period. The reference recording can be found through the Canadian Music Centre Library here. The Suite is in four movements. Prélude begins with a flowing melody, theme A, presented by the flute then passing to the piano. The volley is repeated with varying accompaniment, and all with meter changes which keep listeners guessing. Theme B is led by the horn with countermelodic material in the flute and clarinet. Theme B is passed from member to member, and finally the piano retransitions to A. Both A and B themes come back in turn with a short coda on the A material which builds to an emphatic ending.
Starting at 3:17 in the recording, the second movement, Sérénade, is essentially a horn solo with piano accompaniment. The initial 5|8 meter adds an off-kilter lilt to the movement. The B section shifts to 5|4 with entrances in the lower register of the horn. The A section returns with elongated low horn notes and an unchanging piano accompaniment to finish the movement.
The third movement, Canon, at 6:37, is a duo between flute and clarinet. True to its name, the movement is a slow methodical canon between the two instruments. An ABA form unfolds with the middle B section encompassing quicker rhythmic motives to contrast with A.
Scherzo, at 9:51, reestablishes the use of the entire ensemble in a 7-part rondo form. The opening refrain is a display of continuous frantic sixteenth notes in the piano, set against a flowing line in the winds. The B section is a dialogue between winds and piano, but eventually the piano completely takes over. The refrain returns in a new voicing. The C section omits the piano, and changes tempo and character. ABA returns with re-orchestration of parts. The final A section starts strong, but slowly diminishes to set up a startling final chord.
