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Sonata per a flauta i piano


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Very successful version of the original Sonata for violin and piano No. 1.

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23,92 € tax incl.

Edition: Printed

    Period 20th c.
    Subheading / Parts De la Sonata per a violí i piano núm. 1
    Instruments fl.pno.
    Pages 54
    Time 25 min
    Contents score + part
    ISMN 979-0-3502-0499-9
    Others V.M. Morales (transcription)
    Edition Printed

    After tackling the transcription for flute of Sonata nr. 1 for violin and piano (1951) by Lluís Benejam, I have carefully revised the first edition together with this one, comparing them with the facsimile in order to avoid errors and clarify certain passages that were open to doubt (very few actually, because in general the composer has a very clear way of writing and there is hardly any crossing-out). The fact that the only available edition of the piece is the Clivis Publicacions edition has made this commitment even greater. The purpose is to offer a publication that is clear and faithful to the original manuscript, which has involved an aural review and harmonic analysis.
    Due to the fact that several passages on the flute require greater emphasis, I have added some indications that I consider appropriate, as in bar 80 of the first movement, where the original pesante is complemented by e molto marcato, or in bars 25 and 48 of the third movement, where I have added marcatissimo. Bearing in mind that this movement is really a scherzo, and considering it as such, at the end of the intermediate section (poco meno) I suggest an accelerando towards Tempo I, from bar 166, to make up for the lack of an indication marking the recapitulation of Tempo I. However, these observations should be heeded at the performer’s discretion.
    On the other hand, to tailor the transcription to the instrument as much as possible and in order to take best advantage of the instrument’s characteristic resources, I have added in very specific passages, and only where these resources are justified, sections in frullato, where the performer sings and plays at the same time, to mention just a few.
    After working on this transcription, the next step was naturally to record it, which I have done with my colleague the flautist Pablo Wong, with whom I went through each and every one of the demands of the music in detail, to be sure to offer a work that is as close as possible to the instrument’s natural possibilities.
    Where necessary, my indications are more precisely clarified in the notes on page 6.

    Víctor Manuel Morales

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