Flute and Piano (for Paul Thompson)—1988, revised 1994, 2000 Audio Sample: Movement 2: mp3 The composition Sonata for Flute and Piano began in 1988 because of an invitation from Jeanne Belfy, oboe teacher at Boise State University. Jeanne asked me to write her a sonata for English horn and piano. During our conversion she reminded me of the good times we had had together as friends living in Kentucky. I decided that the piece should be concerned with thematic transformations. Each movement, while different in character, would be based on the same theme. I looked for a theme that would be familiar enough for the audience to follow it through its various transformations. Because of my friendship with Jeanne, I choose the Stephen Foster song My Old Kentucky Home. The English horn sonata was sketched out and parts of it were performed, but I never seemed to get around to actually finishing it. In 1993 the English flutist Paul Thompson asked to play one of my pieces for flute and piano. While I had written many pieces for flute, none of them included a keyboard. I decided to revive the English horn sonata as a flute sonata for Paul. I used parts of the English horn piece and composed a new second movement. The present work is the result of these efforts. Movement I: The beginning and ending of the movement should be played with a rubato feel (measures 1-15 and 30-34). In these sections, the piano should sound somewhat distant. Liberal use of the pedal is suggested. The middle section needs to be rhythmically precise (16-29). The flutist might try singing an optional drone note while playing. I find that the drone works best in the octave indicated. If this octave is uncomfortable for the voice, sing the note an octave higher. Don’t sing too loudly—let the two sounds blend together. Movement II: In the introduction to this movement, the Foster melody is harmonized in the piano. While the piano should be soft, try to bring out the melody (it’s usually in the top note of a chord). The flutist may play two multi-phonics. These can be practiced by playing very softly the lowest note, then focusing the air stream to bring in the upper note. The “C-D” multiphonic is played using the standard fingering for that “D” (the "D" above the staff) while the "C-Eb" is played using that same fingering with the "G#" key added. These multi-phonics are easier soft than loud. For that reason, flutists may need to reduce the dynamic level of some passages. The cadenza at the end of the introduction should be very free. It includes an optional harmonic "Bb" based on a low "Eb" fingering and optional harmonic "D"s. These "D"s work best if fingered using the "D5" fingering (the second octave "D"). The final tremolo can be any length and should build to the opening of the fast section. While the fast section is effective if played very fast, technical difficulties will probably keep the tempo to about 132. The optional harmonics in the opening section may be played using the lowest octave fingerings. The octaves at the opening of the piano part should be very loud, even crude. These opening rolled octaves should be played with a descending roll. In the second section (measure 27) the piano begins by playing the repeated "D"s secco. A measure later the pedal is added to blur them together, then still blurred, they fade into the background. The piano should be well below the flute at this point. The optional "slides" in the flute part from measure 28 on can be played by rolling the flute in and out or, if the notes permit it, by sliding the fingers off of the open holes. The 32nd note runs (starting in measure 47) in the piano part should be played by grabbing as many notes, as fast as you can, heading in the direction of the "D" indicted and ending on that "D" on the proper beat. These should include chromatic as well as "white" notes if possible. They tend to be very loud and uncontrolled (that's the effect I'm looking for). At fast tempi, they may blur into a kind of quasi-glissando. In the Trio, the pianist should exaggerate the dynamics in the first section. Use much pedal to blur these notes together. The flute part (with the optional sung drone) tends to be pretty soft. The piano should stay well under it. You might need to use the soft pedal while the flute is playing. The Trio should go immediately into the "recap" strictly in tempo. The flute solo in the "recap" (starting in measure 149) should be in tempo and always loud. It is made up of the Foster theme with additional ornamental notes. Imitate the sound of an instrument like a bagpipe which plays with a constant dynamic. At the end of the movement, the pianist should hold the pedal down and allow the sound to "rumble." Use the time it takes for the rumbling to die away to allow the "mood" to calm down and for the flutist to switch to the alto flute (if possible). Do not release the pedal before beginning the last movement. Movement III: The opening notes in the piano should emerge very softly from the rumbling left over from the second movement as held by the pedal. While the pedal should be gradually released, this movement should be played with lots of sustain, even to the point of "blurring." In the opening section (measures 1-28) the flute need only be loosely synchronized with the piano. Use rubato. The piano must stay well below the flute in volume. This may require the pianist to use the soft pedal. The flutist may choose to perform this movement on the alto flute. It is probably most effective done this way (an alto flute part is provided). The middle section (measures 28-36) should be played as loud as possible by both the flutist and the pianist. The 32nds in the piano part indicate random notes (played as fast as possible) in the register indicated. The fermata in measure 36 should be used to allow the "rumbling" to die out somewhat before proceeding. The last section (from measure 37) should be played in strict rhythm. Let the piano sustain the last chord after the flute has finished. This allows the piano sound to cover up any problems the flutist has fading away the optional sung drone (it usually helps to fade out the singing before the played note). All of the extended techniques in the piece are optional. While I believe that the timbres created using these techniques are often quite beautiful, I am also aware that they do not work equally well for all players on all instruments. Performers should feel free to omit any or all of the extended techniques. I would much rather have a comfortable, musical performance of the work than one with all the “right effects.”
Audio Sample: Movement 2: mp3 The composition Sonata for Flute and Piano began in 1988 because of an invitation from Jeanne Belfy, oboe teacher at Boise State University. Jeanne asked me to write her a sonata for English horn and piano. During our conversion she reminded me of the good times we had had together as friends living in Kentucky. I decided that the piece should be concerned with thematic transformations. Each movement, while different in character, would be based on the same theme. I looked for a theme that would be familiar enough for the audience to follow it through its various transformations. Because of my friendship with Jeanne, I choose the Stephen Foster song My Old Kentucky Home. The English horn sonata was sketched out and parts of it were performed, but I never seemed to get around to actually finishing it. In 1993 the English flutist Paul Thompson asked to play one of my pieces for flute and piano. While I had written many pieces for flute, none of them included a keyboard. I decided to revive the English horn sonata as a flute sonata for Paul. I used parts of the English horn piece and composed a new second movement. The present work is the result of these efforts. Movement I: The beginning and ending of the movement should be played with a rubato feel (measures 1-15 and 30-34). In these sections, the piano should sound somewhat distant. Liberal use of the pedal is suggested. The middle section needs to be rhythmically precise (16-29). The flutist might try singing an optional drone note while playing. I find that the drone works best in the octave indicated. If this octave is uncomfortable for the voice, sing the note an octave higher. Don’t sing too loudly—let the two sounds blend together. Movement II: In the introduction to this movement, the Foster melody is harmonized in the piano. While the piano should be soft, try to bring out the melody (it’s usually in the top note of a chord). The flutist may play two multi-phonics. These can be practiced by playing very softly the lowest note, then focusing the air stream to bring in the upper note. The “C-D” multiphonic is played using the standard fingering for that “D” (the "D" above the staff) while the "C-Eb" is played using that same fingering with the "G#" key added. These multi-phonics are easier soft than loud. For that reason, flutists may need to reduce the dynamic level of some passages. The cadenza at the end of the introduction should be very free. It includes an optional harmonic "Bb" based on a low "Eb" fingering and optional harmonic "D"s. These "D"s work best if fingered using the "D5" fingering (the second octave "D"). The final tremolo can be any length and should build to the opening of the fast section. While the fast section is effective if played very fast, technical difficulties will probably keep the tempo to about 132. The optional harmonics in the opening section may be played using the lowest octave fingerings. The octaves at the opening of the piano part should be very loud, even crude. These opening rolled octaves should be played with a descending roll. In the second section (measure 27) the piano begins by playing the repeated "D"s secco. A measure later the pedal is added to blur them together, then still blurred, they fade into the background. The piano should be well below the flute at this point. The optional "slides" in the flute part from measure 28 on can be played by rolling the flute in and out or, if the notes permit it, by sliding the fingers off of the open holes. The 32nd note runs (starting in measure 47) in the piano part should be played by grabbing as many notes, as fast as you can, heading in the direction of the "D" indicted and ending on that "D" on the proper beat. These should include chromatic as well as "white" notes if possible. They tend to be very loud and uncontrolled (that's the effect I'm looking for). At fast tempi, they may blur into a kind of quasi-glissando. In the Trio, the pianist should exaggerate the dynamics in the first section. Use much pedal to blur these notes together. The flute part (with the optional sung drone) tends to be pretty soft. The piano should stay well under it. You might need to use the soft pedal while the flute is playing. The Trio should go immediately into the "recap" strictly in tempo. The flute solo in the "recap" (starting in measure 149) should be in tempo and always loud. It is made up of the Foster theme with additional ornamental notes. Imitate the sound of an instrument like a bagpipe which plays with a constant dynamic. At the end of the movement, the pianist should hold the pedal down and allow the sound to "rumble." Use the time it takes for the rumbling to die away to allow the "mood" to calm down and for the flutist to switch to the alto flute (if possible). Do not release the pedal before beginning the last movement. Movement III: The opening notes in the piano should emerge very softly from the rumbling left over from the second movement as held by the pedal. While the pedal should be gradually released, this movement should be played with lots of sustain, even to the point of "blurring." In the opening section (measures 1-28) the flute need only be loosely synchronized with the piano. Use rubato. The piano must stay well below the flute in volume. This may require the pianist to use the soft pedal. The flutist may choose to perform this movement on the alto flute. It is probably most effective done this way (an alto flute part is provided). The middle section (measures 28-36) should be played as loud as possible by both the flutist and the pianist. The 32nds in the piano part indicate random notes (played as fast as possible) in the register indicated. The fermata in measure 36 should be used to allow the "rumbling" to die out somewhat before proceeding. The last section (from measure 37) should be played in strict rhythm. Let the piano sustain the last chord after the flute has finished. This allows the piano sound to cover up any problems the flutist has fading away the optional sung drone (it usually helps to fade out the singing before the played note). All of the extended techniques in the piece are optional. While I believe that the timbres created using these techniques are often quite beautiful, I am also aware that they do not work equally well for all players on all instruments. Performers should feel free to omit any or all of the extended techniques. I would much rather have a comfortable, musical performance of the work than one with all the “right effects.”
The composition Sonata for Flute and Piano began in 1988 because of an invitation from Jeanne Belfy, oboe teacher at Boise State University. Jeanne asked me to write her a sonata for English horn and piano. During our conversion she reminded me of the good times we had had together as friends living in Kentucky. I decided that the piece should be concerned with thematic transformations. Each movement, while different in character, would be based on the same theme. I looked for a theme that would be familiar enough for the audience to follow it through its various transformations. Because of my friendship with Jeanne, I choose the Stephen Foster song My Old Kentucky Home.
The English horn sonata was sketched out and parts of it were performed, but I never seemed to get around to actually finishing it. In 1993 the English flutist Paul Thompson asked to play one of my pieces for flute and piano. While I had written many pieces for flute, none of them included a keyboard. I decided to revive the English horn sonata as a flute sonata for Paul. I used parts of the English horn piece and composed a new second movement. The present work is the result of these efforts.
Movement I: The beginning and ending of the movement should be played with a rubato feel (measures 1-15 and 30-34). In these sections, the piano should sound somewhat distant. Liberal use of the pedal is suggested. The middle section needs to be rhythmically precise (16-29). The flutist might try singing an optional drone note while playing. I find that the drone works best in the octave indicated. If this octave is uncomfortable for the voice, sing the note an octave higher. Don’t sing too loudly—let the two sounds blend together.
Movement II: In the introduction to this movement, the Foster melody is harmonized in the piano. While the piano should be soft, try to bring out the melody (it’s usually in the top note of a chord). The flutist may play two multi-phonics. These can be practiced by playing very softly the lowest note, then focusing the air stream to bring in the upper note. The “C-D” multiphonic is played using the standard fingering for that “D” (the "D" above the staff) while the "C-Eb" is played using that same fingering with the "G#" key added. These multi-phonics are easier soft than loud. For that reason, flutists may need to reduce the dynamic level of some passages. The cadenza at the end of the introduction should be very free. It includes an optional harmonic "Bb" based on a low "Eb" fingering and optional harmonic "D"s. These "D"s work best if fingered using the "D5" fingering (the second octave "D"). The final tremolo can be any length and should build to the opening of the fast section.
While the fast section is effective if played very fast, technical difficulties will probably keep the tempo to about 132. The optional harmonics in the opening section may be played using the lowest octave fingerings. The octaves at the opening of the piano part should be very loud, even crude. These opening rolled octaves should be played with a descending roll. In the second section (measure 27) the piano begins by playing the repeated "D"s secco. A measure later the pedal is added to blur them together, then still blurred, they fade into the background. The piano should be well below the flute at this point. The optional "slides" in the flute part from measure 28 on can be played by rolling the flute in and out or, if the notes permit it, by sliding the fingers off of the open holes. The 32nd note runs (starting in measure 47) in the piano part should be played by grabbing as many notes, as fast as you can, heading in the direction of the "D" indicted and ending on that "D" on the proper beat. These should include chromatic as well as "white" notes if possible. They tend to be very loud and uncontrolled (that's the effect I'm looking for). At fast tempi, they may blur into a kind of quasi-glissando.
In the Trio, the pianist should exaggerate the dynamics in the first section. Use much pedal to blur these notes together. The flute part (with the optional sung drone) tends to be pretty soft. The piano should stay well under it. You might need to use the soft pedal while the flute is playing. The Trio should go immediately into the "recap" strictly in tempo. The flute solo in the "recap" (starting in measure 149) should be in tempo and always loud. It is made up of the Foster theme with additional ornamental notes. Imitate the sound of an instrument like a bagpipe which plays with a constant dynamic. At the end of the movement, the pianist should hold the pedal down and allow the sound to "rumble." Use the time it takes for the rumbling to die away to allow the "mood" to calm down and for the flutist to switch to the alto flute (if possible). Do not release the pedal before beginning the last movement.
Movement III: The opening notes in the piano should emerge very softly from the rumbling left over from the second movement as held by the pedal. While the pedal should be gradually released, this movement should be played with lots of sustain, even to the point of "blurring." In the opening section (measures 1-28) the flute need only be loosely synchronized with the piano. Use rubato. The piano must stay well below the flute in volume. This may require the pianist to use the soft pedal. The flutist may choose to perform this movement on the alto flute. It is probably most effective done this way (an alto flute part is provided). The middle section (measures 28-36) should be played as loud as possible by both the flutist and the pianist. The 32nds in the piano part indicate random notes (played as fast as possible) in the register indicated. The fermata in measure 36 should be used to allow the "rumbling" to die out somewhat before proceeding. The last section (from measure 37) should be played in strict rhythm. Let the piano sustain the last chord after the flute has finished. This allows the piano sound to cover up any problems the flutist has fading away the optional sung drone (it usually helps to fade out the singing before the played note).
All of the extended techniques in the piece are optional. While I believe that the timbres created using these techniques are often quite beautiful, I am also aware that they do not work equally well for all players on all instruments. Performers should feel free to omit any or all of the extended techniques. I would much rather have a comfortable, musical performance of the work than one with all the “right effects.”
Last revision 6/12/2009 This page is maintained by Robert Fruehwald (rfruehwald@semo.edu). This Web page is maintained on a Southeast Missouri State University server as a convenience for users. The University does not take responsibility for the content of this site.
This Web page is maintained on a Southeast Missouri State University server as a convenience for users. The University does not take responsibility for the content of this site.
