Boehm, T :: Grand Polonaise in D major, op. 16

Grand Polonaise in D major, op. 16

Boehm, T

International Music Company presents Theobald Boehm's Grand Polonaise in D major, op. 16 for flute and piano, edited by Jean-Pierre Rampal.

The Grande Polonaise was dedicated to Paul Hippolyte Camus, Boehm's great promoter and business representative in France. Camus furthermore compiled the first flute method (1839) for Boehm's 'neu construierte Flote'(1832), the instrument that Boehm presented to the French Academie des Beaux Arts of the Institut de France in May 1837. While others talked of 'the new flute' ('la nouvelle flute'), Camus called it a 'flute Boehm'. And the instrument was indeed known as this. No maker of oboes, clarinets or bassoons had been honoured in this way. That Boehm dedicated the Grande Polonaise to 'his friend' Camus reflects the bond of friendship that had been formed through various meetings in Paris, but equally reflects Camus' great capacities as a player. After being taught by Wunderlich at the Paris Conservatory, from 1819 he was first flutist at the Theatre de la Port Saint-Martin and, after having graced various other positions, in 1836 he became first flutist at the Theatre Italien. In the adaptation of Devienne's flute method that he published with Meissonnier around 1829 he was referred to as 'Camus de la Chapelle du Roi et de l'Academie rle. de Musique'. W.N. James wrote about him in A Word or Two on the Flute, 'M. Camus is a very popular player of the flute in Paris [...] his style is decidedly elegant.' A critic in London wrote after a concert there, '[Camus] caused some sensation by performing Boehm's music on a Godfroy flute with a Dorus G-# key.'There are two versions of the Grande Polonaise in existence. Opus 16[a] appeared in 1831, published by Falter in Munich, Opus 16[b] with Aulangnier in Paris around 1842. Op. 16[a] encompasses 408 bars, Op. 16[b] 314. The introduction is almost identical in the two versions. In Op. 16[b] a number of interludes by the orchestra/piano have been somewhat curtailed. Additionally, the Presto covers around a dozen bars less (from b. 371 to b. 381 in Op. 16[a]) and the conclusion in Op. 16[b] is to some extent altered. There are also differences between the two versions with regard to articulations. Raymond Meylan mentioned that the alterations and the new modulations in Op. 16[b] are well accomplished and are probably by Boehm himself.'

- Rien de Reede