Matisseries

Summary by Emily Dierickx

(see full program notes in score preview below)

Valerie Coleman’s Matisseries is a set of five caprices for solo flute inspired by paintings and paper cutouts by French artist Henri Matisse. Each movement is short in length but brims with energy, nuance, and character.

I. ODALISQUE: Henrietta, Harmony in Red

II. ODALISQUE: Purple Robe and Anemones

“Henriette, Harmony in Red” (1926-27) and “Purple Robe and Anemones” (1937) are two paintings of women lounging in dramatic poses against vibrant backdrops. Coleman’s correlating caprices are rich in color and intrigue, matching the drama of Matisse’s posed models.

III. CUTOUT: Celestial Jerusalem

IV. CUTOUT: Tree of Life

V. CUTOUT: Creole Dancer

Near the end of his life, Matisse’s primary artistic output shifted to cut-outs – striking images formed with cut paper of varying shapes, sizes, and colors. Matisse created “Celestial Jerusalem” (1948) as a model for the Chapel of the Rosary in Vence, France which he designed. Red, yellow, and blue dominate the two vertical window panes. Coleman emulates the way these windows catch and spin light in this caprice. Similarly, Matisse’s “Tree of Life” (1949) was created as a model for the Chapel of the Rosary. This blue, green, and yellow cut-out was made into a stained glass window that was placed behind the chapel’s altar. Coleman captures the majesty of stained glass in the sunlight and Matisse’s bright yellow leaves in this caprice. “Creole Dancer” (1950) is a cutout of a spindly dancing figure amidst blocks of bold colors. The dancer is thought to have been inspired by American choreographer Katherine Dunham. Coleman’s electric finale dances and drives until the very end.

Matisseries is dedicated to Trudy Kane, former Professor of Flute at the Frost School of Music, University of Miami and former Principal Flute of the Metropolitan Opera Orchestra. Kane premiered the work at the Portland Flute Fair and the Seattle Flute Festival in 2019.