{"product_id":"ferroud-3-pieces-salabert","title":"Ferroud: 3 Pieces","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/pierre-octave-ferroud\"\u003ePierre Octave Ferroud (1900-1936)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eFlute\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/ferroud-3-pieces-1921\"\u003e3 Pieces (1921)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790048061958\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 16\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003ePierre-Octave Ferroud (1900–1936) described his music as \"without superfluous ornament or flaws, a music that is sturdy, healthy, optimistic, a music that just works\". Claude Debussy's Syrinx (1913) started a fashion for pastoral scenes; it was echoed by Arthur Honegger's Danse de la chèvre around 1919, then by Ferroud's Trois Pièces, which had its première on 13 December 1922. The first movement, \"Bergère captive\" [Captive shepherdess], embodies the pastoral idea with a melody which uses the Locrian mode of B to A. The following movements, \"Jade\" and \"Toan-Yan\", are imbued with another theme that was fashionable at the time: orientalism. Since Chinese poetry often refers to jade, and in particular to the jade flute, it is only natural that Ferroud should have made the titleh is own, giving it a local flavour through pentatonic scales, glissandi, appoggiaturas and repetitive rhythms. Historical introduction and notes on interpretation in French and English by the flutist Anne Cartel.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Editions Salabert","offers":[{"title":"Default Title","offer_id":42730948034639,"sku":"SLB02054500","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/e4f0991683aef85f6a1e20516eca4b81.jpg?v=1766788296","url":"https:\/\/www.ficksmusic.com\/zh\/products\/ferroud-3-pieces-salabert","provider":"Ficks Music","version":"1.0","type":"link"}