A flute sonata written for Vinicio Haro. In the traditional four-movement structure, the piece takes unexpected and eclectic turns as the piece moves on. The music ranges from “classical” sonata material to atonal scherzos to ridiculous musical quotations.
This movement is the most “classical” of all of them and is confined to traditional sonata form. Despite some deviation, the concept is there nonetheless. Both the flautist and pianist should work together to gain a cohesive sound. This movement should sound like a romantic-period flute sonata movement.
The flautist should be very cognizant of his or her tone. This movement should be played sempre sostenuto e molto espress. Vibrato is welcome here, but too much will ruin the effect of the movement. It’s generally a simple piece and requires little dramatic flair, except in the climax where the music modulates into B-flat minor. Here both players should play with great passion and fire. The drama is here and here only; milk it for all it’s worth.
An atonal scherzo complete with fugue and flutter tonguing. The flautist should be cautious that his or her toughing does not slow down the pulse. Double tonguing is a must in this movement. I wish the pianist luck on performing the atonal fugue.
The Rondo theme is presented at the beginning in a dissonant march feel. However, this does not last long as the movement morphs through various styles and tempos providing contrast to the original theme. The second half of the movement is in many ways a potpourri of musical quotes with no sense of reason. Just as the two players try to reconcile, the flautist again messes up the music. Here it is vital that the look of the performance is just as good as it sounds. At 145, the flautist should look to the pianist and cue the next passage as if it was normal. However, it is very fast. The flautist should convey this in his or her cue with the flute. It is meant to surprise the audience and should look as if it surprised the pianist. Two bars later, the flautist should conduct with his or her flute while playing. This may be difficult to accomplish and may be omitted if need be. However, this “acting” adds great humor to the piece and comic relief for the audience who have already been(hopefully) laughing silently over the musical quotes. The flautist and pianist should coordinate and rehearse this section thoroughly to properly add this to the piece.
Complete: 19 minutes
Mov. 1: 7 1/2 minutes
Mov. 2: 4 minutes
Mov. 3: 2 1/2 minutes
Mov. 4: 5 minutes
Vinicio Haro, Flute with Katy Luo, Piano at the Bloomingdale School of Music on April 8, 2008.