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Trois Aquarelles (Three Watercolors): Score & Parts

$18.99 USD
$18.99 USD
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Trois Aquarelles (Three Watercolors) Cover Image
Trois Aquarelles (Three Watercolors): Score & Parts

Trois Aquarelles (Three Watercolors): Score & Parts

By Philippe Gaubert / arr. Fenwick Smith

Item: 36-M387591
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Description
Philippe Gaubert's Trois Aquarelles (Three Watercolors) might imply by title that these three are miniatures or character pieces, but to the contrary, they are fully developed, substantial movements. Gaubert completed them in 1921 and intended them to be played by a standard piano trio, that is, a violin, cello and piano. As an afterthought, he decided that they might also sound well with flute, cello and piano. And surprisingly, it is in this combination that the work became known. The first movement, Par un clair matin (On a clear morning) is cheerful and energetic. The second movement, Soleil, d'automne (Autumn sun) is more subdued and gentle with a touch of melancholy. The third, entitled Serenade, has a Basque flavor, which is the region where Gaubert had a summer home. This is a first class work which deserves to be heard in concert and will also be enjoyed by amateur players.

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Additional Details
Series: Master Chamber Series - LudwigMasters
Publisher: Keiser Productions, Inc.
Page Count: 48
ISBN10: 1-63-361830-7
ISBN13: 978-1-63-361830-5
UPC: 746241222718
SKU: 36-M387591
Instrumentation: Flute, Violoncello and Piano

More about this title

About the Composer: Philippe Gaubert

Philippe Gaubert (1879-1941) was a French flutist, conductor, and composer who shaped the flute repertoire of the early 20th century. His dual mastery of the instrument and the orchestra made him uniquely positioned to write chamber works that sit comfortably in the hands of serious amateurs while maintaining the sophistication expected of concert audiences.

Why we love this

Gaubert refuses to treat the trio format as a vehicle for lightweight salon music. Each movement unfolds with genuine structural weight and harmonic imagination, yet the writing never becomes precious or unnecessarily complex. The fact that this work thrives equally in the flute and piano combination is a testament to his ear for timbre; many pianists and flutists discover this piece by accident and are surprised by how natural and rewarding it feels.

What to expect

Watercolor in title but not in substance. Par un clair matin sparkles with morning light and forward momentum. The second movement settles into autumnal introspection, tinged with a quiet nostalgia. The Serenade dances with regional color, evoking the Basque landscape with rhythmic vitality and warm harmonies.

Who it's for

Intermediate to advanced flute, cello, and piano trios who want substantial repertoire beyond the standard teaching pieces. This is equally suited to community ensembles and conservatory students preparing for chamber recitals.

How to get the most out of it

  • Balance the flute and cello lines carefully in the opening of Par un clair matin; the flute should lead without overwhelming the cello's countermelody.
  • Let Soleil d'automne breathe. The melancholy in this movement comes from restraint, not from dragging the tempo.
  • Bring out the rhythmic character of the Serenade's Basque-inflected melody; the accompaniment should support that pulse without becoming mechanical.
  • Use the score to study how Gaubert voices the piano part across all three movements. The keyboard writing is pianistic without being showy, a lesson in proportion.

How to use it

Program this as a complete suite on a chamber recital, or select individual movements to anchor different halves of a concert. For school ensembles, the three contrasting movements offer variety within a single unified work, making it efficient programming. It also works as a gentle closer to a concert, allowing the flute and cello to shine in intimate roles.

Skills your students will build

  • Balancing melody and accompaniment across three independent parts
  • Sustaining phrase shape over longer harmonic progressions
  • Responding to textural changes between movement styles
  • Ensemble listening in a chamber context without conductor
  • Interpreting national or regional musical character (Basque influence in the finale)

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