Bohuslav Martinu's First Sonata for Flute and Piano

Written in 1945, Bohuslav Martinu’s First Sonata for Flute and Piano was composed on the beaches of Cape Cod¹. The work was composed for George Laurent who was the principal flute of the Boston Symphony Orchestra from 1918-1952².It is composed in three movements:
* I. Allegro moderato
* II. Adagio
* III. Allegro poco moderato

All three movements are in binary sonata form. The piece features lyrical lines and sonorous harmonies that cover the full range and tessitura of the flute and piano. Syncopated dancing rhythms ornament each movement, intensifying melody and harmony.

I. Allegro moderato

First Sonata for Flute And Piano begins with a brief introduction played by the piano. The piano maneuvers ascending scales and triads under rapid harmonic movement until it arrives to a complete statement of the first theme. The flute enters in its high register singing a cadential melody. The melody travels to a staccato dance played by both members of the duo. In this chaotic section Martinu displaces a sense of downbeat, and confuses the listener by crossing voices. The first theme is then stated by the flute over a steady ostinato in the piano. Melodic and rhythmic play continue through the A section of the movement till the piano introduces the development with explosive minor triads. The flute interrupts the piano interlude with a quiet restatement of a rhythmic motive earlier introduced by the piano. After a gradual crescendo, the duo reaches a climax marked by a descending scale. The piano announces the recapitulation almost immediately. Material in the recapitulation is identical to the exposition. The coda is introduced by rapid ascending scales and staccato play in the flute and piano. A regal restatement of the theme closes the movement.

II. Adagio

The slow tempo of this movement provides a high contrast to the first. A diminished triad played by the flute introduces the first theme. This melody is played over a contrapuntal line in the piano. The accompaniment then gradually thickens in texture and voice as the theme reaches its climax. The second theme is similar to the first in chordal quality, but differs in rhythm. Flute and piano engage in a syncopated and agitated conversation, enhanced by meter change and harmonic density. As in the first movement, a piano interlude introduces the development. The flute interrupts the piano with a quiet triplet figure, and interacts in a similar way with the piano as it did in the B theme. Shortly thereafter the A theme is reintroduced. This recapitulation is identical to the exposition. The coda following the recapitulation is new material that eventually resolves to E flat major.

III. Allegro poco moderato

The third movement holds special significance. The inspiration for the theme of the third movement draws from Martinu’s experience nursing an injured bird back to health in Cape Cod¹. The rhythmic and intervallic motive was derived from the bird’s song. The piano begins the movement in a rapid sixteenth-note figure. The flute joins in the frenzy as the piano plays a succession of ascending scales and triads. Triplet figures in the flute suddenly jar the rhythm. Then a scalar line grows towards a climax, which is marked by a high trill in the flute. The development of this movement is shared equally by flute and piano. The flute plays a lyrical line in its lower register, while the piano relentlessly plays a syncopated rhythm below it. A chromatic scalar passage leads to an explosive climax. Martinu immediately slows down rhythmic motion and before the recapitulation. Again, the material in the recapitulation is identical to the exposition. A playful coda concludes the piece, consisting of rapid rhythmic movement in the high register of both instruments.

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¹ http://www.virginia.edu/music/pressrelease/bethchandler042704.html
² http://homepage.mac.com/johnwion/orchestra.html