Instrumentation: Flute and Piano
Duration: ca. 12:30
Program Note:
While I often write works in sonata form, this piece makes a considerable departure from some of the form’s traditional conventions. The material is developed from five central themes which are liberally shared among the work’s three sections. Additionally, the work systematically explores many of the key areas related to the tonic by thirds (bIII, biii, iii, #iv, bVI, VI, vi, as well as bVIII, bII, bii, and other distantly related keys).
The opening movement is the most optimistic of the three, beginning with bright and lyrical themes. The second of these themes (B) eventually becomes a source of unrest, taking control of the flute cadenza and brutally ending the first section. The second section introduces the fifth theme of the work— a lyrical melody which is treated in canon between the flute and piano. The B-theme interrupts just after the climax and ends the second section as it ended the first. The final section is quite agitated and rapidly cycles through the themes C – E before arriving at the violent B-theme. At this point, the first theme finally manages to wrest back control and pull the piece to a close.
Premiere: November 10, 2017; Spokane, WA. Michelle Hannaford, flute; Peter Underhill, piano.
Peter A. Underhill 