Claude Arrieu (born in 1903  in Paris; died in 1990 in Paris, France) or Louise-Marie Simon by her real name, musically educated from her early age, joined the Conservatoire de Paris in 1924 to study harmony and counterpoint. She adopted her male pseudonym several years later, likely to better navigate the heavily male-dominated music industry of that time. After graduation, she took a teaching position while continuing to compose, developing her personal style inspired by Fauré, Debussy and Ravel. Interested in various technical means, she spent over a decade at the French Radio Broadcasting Program Service, where she was employed until 1947. Afterwards, she was a full-time composer, writing music in various styles, including works for theatre, film and radio broadcasts. It is estimated that she composed over 400 pieces. These included twelve operas, numerous instrumental concertos for piano, violin, flute and trumpet, symphonic works and chamber music compositions, along with production music (scores for advertising, films, children’s music, etc). Her musical voice was described as original; with character and strength, but also modern, charming and humorous. This is evident in the elegant short Sonatine, written for flute and piano.

Sonatine pour flûte et piano, composed in 1943, had an acclaimed radio premiere a year later, when it was performed by Jean-Pierre Rampal. The first movement, Allegro moderato, opens joyfully, offering opportunity for expressive phrasing to the flutist. The role of the piano should not be underestimated; piano is a true partner here, bringing the melody in the balanced dialogue with the flute. In the second movement, Andantino, the flute sets the tempo with the variation of the opening melody, however, with a higher technical demand from both flutist and pianist. The third movement Presto is a compositional tour de force, requiring virtuosity from both performers. It challenges the flutist’s breath capacity in the fast themes and the efficiency of air use in more lyrical phrases. This movement remains true to its name and rushes ahead in an almost unrealistic tempo for the flutist, before the accelerando reaches its highest point.