2e Sonate pour flûte et piano
Twenty years after the publication of his first sonata for flute and piano, Le Rire de Saraï (Sarai's Laughter), Guillaume Connesson has composed a piece where, this time, narrative gives way to the pleasure of singing. The 2nd Sonata for Flute and Piano, written in four movements, is dedicated to the flautist Philippe Bernold, who premiered it on October 26, 2022, at the International Flute Convention at the Aix-en-Provence Conservatory.
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| Instrument family | Flute |
| Catalog classifications | Flute and piano |
| Instrument nomenclature | flûte et piano |
| Total duration | 00:12:00 |
| Publisher | Éditions Billaudot |
| Collection | ASSOCIATION JEAN-PIERRE RAMPAL |
| Cotage | GB10442 |
| Total number of pages | 56 |
| Languages | French, English |
| Cycle / Level | concert |
| Target audience | Adults |
| Musical style | Contemporary |
| Copyright year | 2023 |
| EAN code | 9790043104421 |
| Audios | Without |
| Videos | Without |
| EDU complements | Without |
Description
Twenty years after my first sonata for flute and piano, Le rire de Saraï, this second sonata is not underpinned by a narrative; its subject is simply the pleasure of singing. It is presented in four contrasting movements: Moderate – Fast – Slow – Very Fast and Joyful.
The first movement, calm and lyrical, is in triple meter. A gentle melody develops in an arc and leads to a bridge over the head of the theme. A second idea begins, breathless, carried by a passionate crescendo. The opening melody then returns in a brighter color, supported by soft chimes on the piano.
The second movement, the most developed of the sonata, is very fast and scherzo-like in style. Structured in five sections, it begins with the main motif of the movement on the flute, full of speed and lightness. The second theme, authoritative and vertical, is introduced by the piano. A second, slower section recalls the spirit of the first movement. Then the frenetic pace resumes, combining the first two motifs. The fourth section returns to the calm lyricism of the second, a moment of suspended time before the return of the dizzying speed, which evaporates unexpectedly.
The third movement, a single, slow, and hieratic piece, is a funeral lament that contrasts the piano's stark, mineral sound with the sorrowful melismatic quality of the flute, which becomes a kind of Greek aulos. The procession passes before us, filled with cries of pain and sobs, then dissolves into the night.
Finally, the finale presents a chordal theme on the piano, which serves as a varied refrain, then the flute leaps forth with two very joyful rhythmic motifs. A recapitulation of all the sonata's themes then begins, interspersed with the chordal theme. At the end, a new theme of exultant lyricism appears. It will be followed by a frenzied coda on the now frenetic refrain theme.