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This piece was completed in June 2010, and is divided into three movements. My starting point for writing this work was a wish to explore a new mood and style, having recently composed a dissonant and austere piece, Piano Trio No. 2. After some further thought, I set about writing a calm and lyrical piece, the Sonata for Flute and Piano. I quickly found the instrumentation to be ideal for my musical intentions.
Despite using a much less abrasive tone, in the Sonata I have adopted a less restrictive and more experimental approach to tonality than before. The first and second movements, for instance, explore bitonality between two very distant keys �" A major and E flat major. A brief but violent passage halfway through the third movement features the collision of different tonalities, drawn from earlier musical material. In general, however, the specific tonal palette from which the musical material is drawn is used for the sake of harmonic consistency and thematic development.
The brief first movement begins with a cold and distant introduction from the piano, above which the flute sings a broad three-note motive that forms the basis of the musical material throughout the piece. The general mood is detached and withdrawn, with the dynamic usually remaining at pianissimo. The piano is more active than the flute throughout, and there is no sense of resolution at the movement�s quiet close.
This piece is dedicated to the flautist and friend Kim Falconer, and to the composer and established musician Hugh Fullarton, who has done much over the years to guide my musical development and to encourage me to continue composing.
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Reviews of Flute Sonata - 1. Poco andante e molto tranquillo
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