[for Flute & Percussion]

 "An excellent work for chamber programs and recitals."
-George Frock
Percussive Notes -August 2007

" a masterpiece of craft, imagination and artistic skill. All serious flute and percussion professionals will soon consider this work as part of the core repertoire in this genre."
-Dr. Robert Hansbrough
Professor of Percussion
The College of Saint Rose


                          European premiere by Marco Pereira, Flute and Paulo Coast, Percussion!

Duration : ca. 15 minutes

Level of difficulty:  For advanced players

DOWNLOAD the SCORE (free) (in PDF format)  Score  

The parts are available for purchase for $15.00 USD. The parts will be emailed to you as PDF files. You may use your PayPal account or any major credit card to purchase.


Program notes
Roter's Sonata for Flute and Percussion was commissioned by percussionist Robert Hansbrough and flutist Yvonne Chavez Hansbrough. The sonata's three movements explores different timbrel combinations between the flute and the percussion instruments.

The first movement (Allegro) explores the relationship between a flute and a snare drum. This represents the "dryest," most abstract relationship, since the percussion's component is purely rhythmic. At times, the flute contrasts melodically against its counterpart. At other times, the flute participates in the highly rhythmic nature of this music, almost becoming a "percussive" instrument itself.

The second movement (Andante Moderato), by contrast, offers a lyrical duet between two melodic instruments: the flute and the marimba. At times, the parts are seem independent, as if the contrapuntal line are "dancing around" one another. At other points, the parts join and form an integrated, lyrical whole.

The third movement (Allegro) marks a return to highly rhythmic figures. This time, however, the percussion explores several timbres, from drums of varying sizes, to temple blocks and tam-tam, to instruments of "definite pitch," namely the marimba and glockenspiel. While the beginning and ending of this movement are based on scalar materials, the freer middle section (which culminates in a flute cadenza) harkens back to some material used in the first movement.

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