Twenty years after my first sonata for flute and piano, The Laugh of Sarai, this second sonata is not underpinned this time by a narrative; its subject is simply the pleasure of singing. It is presented in four contrasting movements, Moderato - Vivace - Adagio - Very Vivace and Joyful.
The first movement, calm and lyrical, is in ternary form. A gentle melody develops in an arch and leads to a bridge on the head of the theme. A second idea begins, panting, carried by a passionate crescendo. The opening melody then returns in a lighter color, supported by soft chimes on the piano.
The second movement, the most developed of the sonata, is very fast and scherzo in spirit. Built in five sections, it begins with the main motif of the movement on the flute, all speed and lightness. The second theme, authoritative and vertical, is given by the piano. A second, slower section recalls the spirit of the first movement. Then the wild race resumes by combining the first two motifs. The fourth section regains the calm lyricism of the second, a moment of suspension of time before the return of the vertigo of speed which unexpectedly fades away.
The third movement, in one piece, slow and hieratic, is a funeral lament that opposes the mineral of the piano to the painful melismatic of the flute, which has become a sort of Greek aulos. The procession passes before us, filled with painful cries and sobs, then melts into the night.
Finally, the Finale presents on the piano a theme of chords, which will serve as a varied refrain, then the flute leaps with two very joyful rhythmic motifs. A recapitulation of all the themes of the sonata then begins, interspersed with the chord theme. At the end, a new theme with exultant lyricism appears. It will be followed by a wild coda on the now frenetic refrain theme.
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