Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
composers are few and far between. Sergei Prokofievs Flute Sonata in D Major,
Op. 94 stands out as a welcome rarity in the flute repertoire because of its
impressive size and recognizable composer. First performed in Moscow in
December of 1943, the work was instantly popular with both audiences and
musicians. The work proved so popular, in fact, that Prokofiev almost immediately
produced a transcription for violin with the help of eminent Soviet violinist David
Oistrakh, to whom Dmitri Shostakovich and Aram Khachaturian dedicated violin
concertos. Between the composers two instrumentations and Soviet copyright
issues, no definitive urtext of the work exists, lending a special role to the performer
in interpreting this warhorse for the flute.
The first movement, marked Moderato, unfolds rather conventionally in
form. A tonic theme, introduced by the interval of a perfect fourth and concluded
with a quick flourish, precedes a dominant theme that answers with variations on
the fourth within its own quirky dotted rhythm. Prokofiev, however, strays from strict
classicism by imposing abrupt key changes on these themes of the exposition, a
trait characteristic of his neoclassicist musical language. Exploring more rapid key
changes and a heightened dynamic and emotional range, the subsequent
developmentwhich juxtaposes the two themes in close proximitygrows in
intensity, ultimately exploding in a series of alternating runs between the flute and
piano. The first theme returns in its original, gentle form and is briefly met in the
tonic key by the second theme. Prokofievs compositional tendencies soon upend
this predictable tonal structure with eerie, unstable transpositions of the two
themes that float higher and higher in the flutes register until drifting into the
expected yet mysteriously unsettling key of D Major.
The second movement Scherzo defies the confines of its 3/4 time signature.
The flute introduces an anxious hemiola (a multi-measure cross rhythm), a motif
which comes to define the movement, against the relentless motor of the piano
accompaniment. The two instruments eventually emerge in melodic unison and
begin a lyrical middle section evocative of a relaxed, almost lazy folk song, only to
be repeatedly interrupted by sharp accents and fast trills. Following this short
interlude, the initial scherzo returns. The flute and the piano grow more and more
rhythmically displaced, rushing to the end in a fiery frenzy of notes.
The Andante third movement in F Major unfolds with an atmospheric
haziness, calling to mind Prokofievs popular fairy-tale music (notably Romeo and
Juliet, Cinderella, and Peter and the Wolf). The flute and piano pass off a simple
eighth-note melody that warps into a chromatic fantasy. Meandering triplet
sixteenths slowly grow stranger and more pronounced but eventually trail off. The
opening music restarts and cadences, and an ethereal coda extends this conclusion,
dissonantly winding down to the lowest register of the flute.
The fourth and final movement (Allegro con brio) shares a large amount of
its musical material with the opening movement: the emphasis on the interval of a
perfect fourth, similar sudden key changes, and contrasting tonic and dominant
themes. The march-like first theme, rhythmic in its virtuosity and clear in its
articulation, gives way to a slightly slower second theme that layers a swelling
melody in thirds with sweeping, arpeggiated flourishes. A dramatic piano solo
transitions the movement to a quieter, legato melody marked by expressive tenutos
and long phrases. Together, the flute and piano build a steady crescendo and
accelerate back into the introductory march. After a majestic rendering of the
second themenow in the home key of D Majorthe two instruments launch into a
pompous coda that concludes the work in a brilliant display of technique.