1.Flute Concerto No. 12 in A Major: I. Allegro maestoso		9:49 	
2.Flute Concerto No. 12 in A Major: II. Adagio	4:34 	
3.Flute Concerto No. 12 in A Major: III. Allegretto		6:00 	
	
4.Flute Concerto in G Major, Op. posth.: I. Allegro		11:11 	
5.Flute Concerto in G Major, Op. posth.: II. Andante	3:07 	
6.Flute Concerto in G Major, Op. posth.: III. Rondo: Allegro	8:32 	

7.Flute Concerto No. 9 in E Minor: I. Allegro	8:28 	
8.Flute Concerto No. 9 in E Minor: II. Adagio cantabile		2:45 	
9.Flute Concerto No. 9 in E Minor: III. Allegretto con variazioni	5:35 

András Adorján - flute 
Münchener Kammerorchesterер 
Hans Stadlmair - conductor

François Devienne (1759-1803) was a prominent composer in the late 18th and early 19th centuries, but his reputation faded after his death and he became a largely forgotten composer until Jean-Pierre Rampal revived his flute concertos in the 1960s. Devienne wrote twelve concertos for flute, as well as five for bassoon. He also composed numerous wind sinfonias, sonatas for bassoon and oboe, various chamber works and twelve operas. In all, though he died at forty-four, he produced around three hundred compositions. Devienne's first important music post was as a bassoonist with the Paris Opera. During this time he was also studying flute performance with Felix Rault.

Devienne's style is fairly conservative for its time: his music often calls to mind Mozart, who was a contemporary, born just three years before Devienne. But where Mozart is ever imaginative and often uninhibited, Devienne is a bit academic and stylistically conformist. Not that his music is bland or without personality: Devienne offers many attractive themes in masterly scoring for both the flute and orchestra. Moreover, his structures, though rather formulaic, are well crafted and brilliantly molded to fit the concerto form. Devienne's solo flute writing always sounds natural for the instrument and yet is so often dazzling in its virtuosic character. ---Robert Cummings, classical.net

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Concerto for Flute and Orchestra No.2 in D Major
1 Allegro 9:28
2 Adagio 4:51
3 Rondo: Allegretto 4:21

Concerto for Flute and Orchestra No.4 in G Major
4 Allegro 8:58
5 Romance 3:12
6 Rondo: Moderato 5:21

Concerto for Flute and Orchestra No.5 in G Major
7 Allegro 6:54
8 Adagio 2:13
9 Grazioso con variazioni 7:58

Concerto for Flute and Orchestra No.7 in E Minor
10 Allegro 8:33
11 Adagio 5:18
12 Rondo: Allegretto 5:35 

Claudi Arimany -  flute
Gdansk Symphonic Orchestra
Janusz Przybylsky - Conductor 

A celebrated bassoonist and flutist in late seventeenth century France, François Devienne is remembered now for the several concertos he wrote for his own performance, although he also wrote a dozen operas and many chamber works. Devienne's early training seems to have been with family members and locals in his home town of Joinville. His first known professional position was last-stand bassoon at the Paris Opera in 1779; while there, he studied with the orchestra's principal flutist. It's likely, but not confirmed, that Devienne began working as a chamber musician for the Cardinal de Rohan in 1780, and remained there until 1785. It's also possible that, as a Mason, he performed in the Masonic Loge Olympique Orchestra during this time.

The first record of a Parisian performance of Devienne's music is in 1780, when someone else premiered one of his bassoon concertos. In 1782 Devienne himself played one of his flute concertos when he gave the first of at least 18 solo performances through 1785 at the Concert Spirituel. His activities during the last half of the decade are unclear; he may have been playing in the Swiss Guards band in Versailles. He was certainly back in Paris by 1790, playing bassoon in what would become the Feydeau Theater, a poorly paid position he would hold until 1801. He also joined the Paris National Guard during this period, where he taught in and administered a music program for children of French soldiers; this was a precursor of the Paris Conservatory, at which he would serve as flute professor. Devienne published a famous method for single-key flute in 1794.

Devienne wrote a great number of well-crafted concertos and chamber works for flute and bassoon in the 1790s, as well as many pedagogical pieces, but he was best known in Paris during this period as an opera composer. His fortunes declined suddenly in the new century, though; he died in 1803, four months after being committed to the Charenton insane asylum. ---James Reel, allmusic.com

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Quatuor op.73 n°1 en Do majeur
01 I. Allegro spiritoso
02 II. Adagio cantabile
03 III. Rondo. Allegro moderato

Duo concertant op.3 n°2
04 I. Allegro
05 II. Rondo

Quatuor op.73 n°2 en Fa majeur
06 I. Allegro
07 II. Adagio
08 III. Grazioso con variazioni

Duo concertant op.3 n°5
09 I. Allegro
10 II. Rondo

Quatuor op.73 n°3 en sol mineur
11 I. Allegro con espressione
12 II. Adagio, non troppo
13 III. Rondo. Allegretto poco moderato

Total time - 67'28

Laurent Lefèvre - bassoon
Gordan Nikolitch - violin (1-3, 6-8, 11-13)
Geneviève Strosser - viola (1-3, 6-8, 11-13)
Jean-Marie Trotereau - cello

Devienne was a professor of flute at the Conservatory of Music of Paris and bassoonist in the orchestra of the grand opera theatre of Paris in 1796. In these pieces Devienne demonstrates his mastery of gallant conversation with an admirably light touch. In these works it is the bassoon and the violin that shape the musical events. Laurent Lefèvre won the Premier Grand Prix at the Concours International d'Exécution musicale of Geneva. He is the first bassoon soloist in the orchestra of the Opéra national de Paris. He has made solo appearances in many orchestras and festivals in Germany, Swizterland, Argentina and Belgium. ---arkivmusic.com

François Devienne est né à Joinville (Haute-Marne) le 31 janvier 1759. C’est le dernier des...quatorze enfants d’un fabricant de selles. Il entre rapidement en contact avec la musique puisque, après avoir apprit de manière précoce plusieurs instruments avec son frère aîné, il devint enfant de chœur dans sa ville natale. Cette approche musicale précoce lui permet de postuler par la suite dans différents ensembles parisiens comme soliste et membre d’orchestres mais, mieux encore, il entrera chez le Cardinal de Rohan en 1780. Il y joue de la flûte (que lui enseigna Félix Rault), du basson (il devient, en 1788, bassoniste au Théâtre de Monsieur puis à l’opéra de Paris en 1793) et il compose.

Parallèlemment, le musicien occupe un poste de sergent à l’orchestre de la garde militaire. Il écrit, dans le cadre de ses fonctions qui consiste à apprendre la musique à des enfants de militaires, une Méthode de flûte théorique et pratique (1793). Dans son “école libre de musique“, rebaptisée par la Révolution Institut National de Musique puis Conservatoire de Paris en 1795, il occupe donc le poste de professeur de flûte. Il rejoint également les francs-maçons et l’orchestre des Concerts de la Loge Olympique.

Les années 1790 sont d’ailleurs propices à sa carrière, du moins à sa renommée de musicien puisqu’il composera pendant cette période quelques opéras appréciés dont un qui lui apportera le succès, les Visitandines (1792). Le 5 septembre 1803, Devienne décède dans un sanatorium à Charenton, près de Paris, probablement à cause de surmenage.

Devienne est surnommé le Mozart Français (il fut, à quelques années près, le contemporain exact de l’original) et il a laissé de nombreuses compositions pour flûte qui sortirent plus ou moins de l’oubli grâce au travail du flûtiste français Jean-Pierre Rampal dans les années 1960 qui le fit connaître des flûtistes mais cependant pas spécialement du grand public (me trompé-je ?). ---symphozik.info

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