Pierre-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 chevre around 1919, then by Ferroud’s Trois Pieces, which had its premiere on 13 December 1922. The first movement, „Bergere 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 title his 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. - New engraving.