Muczynski, R :: Sonata for Flute and Piano op. 14

Chicago-born contemporary composer and pianist, Robert Muczynski (1929-2010), published over 50 compositions that have been performed worldwide, attracting a dedicated international following. Muczynski began composing Sonata for Flute and Piano, Opus 14 in 1960 while living in Oakland, California on a Ford Foundation Fellowship Grant. He completed the first two movements in Oakland and after moving to Chicago in 1961, composed the remaining two. The work was premiered in 1961 at the Academy of Music in Nice, France and was awarded the Concours International Prize.

Deemed as ‘too difficult, few will choose to play it’ by a flautist-friend, Muczynski chose to ignore the voice of critics and wrote music for solo instruments that defied their natural compositional tendencies and clichés. For the flute, he veered away from its serene and sweet melodic texture to reveal its ability to project music with a strong and sharp character.

Muczynski speaks of his Sonata for Flute and Piano, ‘In Sonata-Allegro form, the first movement [Allegro deciso] begins with a syncopated four note figure announced by the flute. It has a restless urgency about it. This motive is gradually expanded, developed and varied as the music unfolds. There is frequent reference to it as both flute and piano share the ongoing dialogue. A pulsating energy is maintained throughout. The chattering Scherzo (6/8) is both whimsical and headstrong, requiring considerable control and endurance from the flautist. It is concentrated music; it goes by quickly and establishes a need for the contrasting movement which follows. As a respite from the two energetic movements, the Andante favours a kind of intimate and sustained music wherein the flute is assigned expressive, soaring lines of high intensity while the piano provides a subdued accompaniment throughout. The final, fourth movement [Allegro con moto], in rondo form, resumes the impetuous character of the opening music and sweeps along until arriving at a reckless "cadenza" for the flute followed by an outburst from the piano, as both instruments share in a conclusion of staggered rhythms and all-out abandon.’

- CD Notes, Susan Hoeppner's American Flute Masterpieces