Original Manuscript Edition-Almost 100 years after the first publication of Debussy's Sonate Pour Flute Alto Et Harpe by Durand et Cie this seminal work in the chamber music literature has been meticulously compared contrasted and corrected against Debussy's handwritten and autographed 1915 manuscript. Using photographs provided by the National Library of France harpist Carl Swanson has documented and corrected nearly 300 discrepancies between the composer's intent and the Durand 1916 edition.The corrections made in this edition consist of musical indications being omitted misplaced or inverted; dynamic markings that are in the manuscriptbut not the printed version have been added wrong and misaligned notes have been corrected musical indications previously omitted in individual parts have been added and intended durations of dynamic and tempo changes have been corrected.Debussy was one of the first composers to make extensive use of musical indications and was extremely meticulous in his scores. To read a score of his with missing misplaced or wrong directions is a significant as reading a score with missing or incorrect notes. Now for the first time in history Debussy's Sonate Pour Flute Alto Et Harpe has been printed exactly as the composer intended.

Le travail moyenne dans les trois dernières sonates de musique de chambre a été composée au printemps 1915 directement après la sonate pour violoncelle (HN 633). La combinaison innovante de sons - un instrument à vent, un instrument à cordes, et un instrument à cordes pincées - contribue grandement à l'impression de mélancolie contenue. Debussy lui-même confirmé, en disant: 'C'est terriblement triste. Et je ne sais pas s'il faut rire ou pleurer à ce sujet? ? Peut-être les deux en même temps 'À une autre occasion, il a souligné les similitudes avec son propre style de composition dans les années 1890, en remarquant de la sonate: ' Cela me rappelle un très vieux Claude Debussy - celui des Nocturnes '. / Flûte, Alto Et Harpe

Sunrise was commissioned by Backshore Artists Project Inc. on the occasion of Carol Wincenc’s 40th anniversary on the concert stage and underwritten by a generous grant from Linda and Stuart Nelson.The work is dedicated to Carol Wincenc for this very special occasion.It starts slowly with the bass flute leading a dark dream-like section with a theme that is marked rubato seductive. The viola echoes this melody but ties to move it to another key. Eventually the tempo quickens as the harp adds a new theme which the others soon copy.A new section svegliato (awakening) follows where the harp and viola encourage the flute to join them in a sprightly scherzo whichgrows to a climax to herald the sunrise. Here the viola leads with a glowing theme. After the flute has echoed this melody the mood quietens and in a peaceful coda the flute ‘remembers’ the theme from the very opening: it is now bathed in sunlight and is marked luminous.