sonata for flute and piano
souffle et bois pour flûte seule
Inspired by Barber, Poulenc, and Prokofiev, this sonata for flue and piano is an expression joy, loss, and disquiet.
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I compose each new work with instrument in hand, seeking to be inspired by the inherent color palette of the instrument that derives from the materials used in its creation by the master flute maker. In the case of souffle et bois pour flute seule, the inspirational instrument was a finely crafted wooden instrument. Thus, the title souffle (air) et bois (wood). This piece represents my response to the color palette of an instrument that was finely crafted from grenadilla, or African mpingo, wood. Though inspired by a wooden flute, this piece should be explored and expressed through whatever instrument is available to the flutist without regard to the materials used in its construction.
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théorie des couleurs pour petite flûte seule
In the field of visual art, tonalists use black and white to darken or lighten, while colorists, on the other hand, apply color theory (thèorie des couleurs in French), an approach that relies on the termperature of a color to represent its value, based on lighting and environment. For colorists, the process of creation begins with a color study wherein temperature is emphasized, and local colors are added at a later stage of the creative process. In my amateur art studies with the fantstic calssical realist and pedagogue, Rebecca Tait, I attempted to create representations of various objects, including a lime (citron vert), an apple (pomme), a pumpkin (citrouille), and brown eggs (oeufs bruns). Eventually, I applied this visual-art concept to the composition of thèorie des couleurs pour petite flûte seule, providing musical representations of these objects, beginning with the blank canvas (toile).
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six sonatas, opus 27 for flute alone
The flute works of Ibert, Bozza, Honneger, and Debussy draw on popular musical techniques of the early twentieth century in a beautifully subtle and reserved fashion. It is, however, Sigfrid Karg-Elert’s Sonata Appassionata in F# Minor, Opus 140 (1917), that exploits these techniques while also revealing the more extraverted and passionate character of the flute. Thus, it is with a desire to expand the range of flute repertoire that capitalizes on the characteristics of the Karg-Elert sonata that I present Eugène Ysaÿe’s Six Sonatas for Violin Solo, Opus 27 (1923), here transcribed for the flute.
After hearing Joseph Szigeti perform J.S. Bach's sonata in G minor, Eugène Ysaÿe was inspired to compose new violin works that represented the development of musical practices from the Baroque era to the Modern era. In his six sonatas, he (like Karg-Elert) employed contemporary techniques in a demonstrative and fervid character that was representative of violin repertoire of his time.
I endeavor, in these new transcriptions for flute solo, to augment the body of repertoire in this genre, affording the artist an opportunity to express the full palette of extraordinary colors available to the flutist.
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