Burton s Sonatina for Flute & Piano: A Practice Guide by Molly York Sonatina for flute and piano may be Burton s one hit wonder, but it has stood the test of time, making it a standard in flute literature and well loved worldwide. Eldin Burton was an American pianist who had ambitions of being a composer. Burton took Sonatina, which was a piano piece at the time, to a composition class at Julliard and the professor told him that it sounded like more than just a piano part and suggested that Burton rewrite the piece to include Samuel Baron, a fellow class-mate, on the flute. (Still Interview) Sonatina for Flute and Piano won the first and last New York Flute Club Composition Contest in 1948. The first performance was given by Samuel Baron, who later became a revered American flute teacher as a professor of music at Stony Brook, chair of the Woodwind Department at Julliard, and the founder of the New York Woodwind Quintet. The prize for winning the contest was a publication offer from G. Schirmer Inc., assuring it s survival in the flute repertoire. Samuel Baron (1925-1977) After his success, Burton took a job with Schirmer, but did not find affluence in composing seeing that his only other composition, a flute concerto, was never published. I - Allegretto grazioso This movement is marked as a quarter note equals 96, but go a little faster, a quarter note equals 112, to make the movement move little more. Although the beginning of this movement is not technically difficult, the phrasing can be problematic. I suggest that the player aim for the
Subphrase As and emphasize the peak of each subphrase. This way the phrasing moves and avoids sounding stagnant. The example (ex.1) below illustrates my suggestion. Phrase _ g g peak of each subphrase = metric accent ex.1 Vibrato needs to be prominent throughout this fist section, especially when the fist theme jumps the octave at measure at measure 10. At this point, the theme has been stated two times in both octaves then at measure 22 the pitches of the melody change. Burton changes the tonality by going from major to minor at measure 22 to create a more mysterious feeling and acknowledging the difference adds to the players musicality. Take a more enigmatic approach than the previous statements of the theme and change your tone color to signify the tonality shift from the beginning. Furthermore, it is important to notice that at the end of every phrase up to measure 30, the accompaniment has a crescendo, so it is important for the player to support the last note of the phrase and not crescendo or let the sound diminish (ex.2). m. 16 m. 29 ex.2 At the Più mosso and anywhere in the movement where there is a dotted eighth and triplet passage, it is important that the player distinguish between the triplet and the sixteenth note and retain the rhythmic integrity of the triple verses duple subdivision. For instance, do not lengthen
< the sixteenths or shorten the triplets; play a true dotted eight-sixteenth and a true triplet. Practice shifting from a triple subdivision to a duple subdivision. At measure 33 and 34 using the double thumb B b will help easier facilitate the sextuplets. However, the player will need to quickly slide the thumb back over to the B key for the F I s. Measure 31 to 70 contains many scalar passages and in order easier facilitate, it is important understand what scale is being used. Here are some examples (ex.3): m. 41 ] ex.3 ] G hamonic minor A b Major The Tempo Primo begins the transition back to the beginning theme with an interruption of the middle section at the a tempo and Più mosso. During the ritard at measure 87, adding length to the marcato triplets creates a more dramatic ritard into the Più mosso (Animato). A fast vibrato is a must in this section, especially in this register. The syncopated rhythms starting in measure 91 should sound relaxed, not agitated. It is best to think of the syncopations as light and jazzy otherwise the repetition of the syncopated rhythms will some mundane and out of place. I suggest the following breaths to help with phrasing (ex.4). < < ex.4
At this point in the piece it is easy to tense up and rush because of the register, syncopation, and E Major scale runs, but the ending needs to feel relaxed and amiable, otherwise, the unwinding aftermath of the end of this movement, leading into the slow movement, will not be effective. II - Andantino Sognando The meaning of Sognando is to dream and Burton, along with composers in the past, such as Debussy, use the flute to portray a dream-like ambiance. This movement is wonderful because Burton utilizes all of the beautiful aspects of the flute - color, range, and technique. Making use Ternary Form A B A m.1 m.19 m.31 of ternary form, this movement is divided up into three sections, an A section, a B section, and the repeat of the A section (ABA). The beginning of the movement is marked mezzo forte and remains that way until the crescendo poco a poco at measure 13. It leaves ample opportunity to the performer to add musicality and phrasing. I suggest starting the beginning at a mezzo piano followed a crescendo to a mezzo forte on the succeeding half note. Furthermore, lifting the B quarter note and then placing the half note can be effective (ex.5). This technique also includes pickups to measure 9 and measure 40. _. The mood of the movement changes at measure 12 into a few lighthearted measures and is followed by the first high moment of the movement at measure 14, a measure later ending the section in a feeling of melancholy. Measure 21 begins the B section, which takes on an anxious quality with forte and fortissimo ex.5
32nd scalar passages. It is essential while playing the 32nd note passages that the player groups the notes to facilitate the technique. I suggest the following groupings (ex.6): ex.6 4 4 3 3 4 4 4 5 5 6 g gg g E Major E Major The beginning theme, or the A section, returns at measure 31 at a mezzo forte until measure 38, which is marked Quieto. Quieto is defined as calm, still, or peaceful and should be reflected as so until the end of the movement. The last measure of this movement is difficult because the player is diminishing on a B harmonic. This can be more comfortably played if the player fingers a middle E and over blowing to the B harmonic. Also, taking a breath right before the last note should ensure a confident ending. Lastly, utilizing non vibrato while diminishing the sound allows the sound to evaporate. III - Allegro giocoso quasi fandango Fandango is defined as an animated Spanish or Spanish-American dance in triple time. Burton uses triplets on the strong beats in 6/8 time throughout the whole movement. Beginning at a slow tempo will help accurately put the triplets within the correct beat. The opening should be
played with integrity and assurance and all of the accents should be well articulated and placed directly on the beat. Because the triplets are I m. 4 m. 21-22 m. 76 m. 93-94 m. 4 m. 21-22 m. 64 m. 76 m. 93-94 ex.7 hard to facilitate with regular flute fingerings, in the opening section m. 5 m.65 m. 77 and throughout the movement, using trill fingerings (ex.7) will allow for more comfortable and smooth triplet sixteenths. It is important to remember that just because trill fingerings are being used, they are not considered just a wiggle of the finger, but accurate triplet sixteenths within the eight note. At measure 23 and 24, overblown B n and C I harmonics m. 13 m. 85 m. 13 m. 85 m. 14 m. 86 m. 64 m. 65 C I trill trill keys covered keys using the C I trill key can be used for easier facilitation along with a strong and continuous stream of air which will keep the pitch from going flat. Also, because of the repetition of measures 23 I and 24, adding a crescendo creates a driving effect to heighten the forte at measure 25. The F b at measure 25 should be accented and placed directly on the beat. B lever is the best way to facilitate the A I s and the triplets from G I to A I in measures 27 and 30. Furthermore, B b lever can
remain employed while playing between the G I to A I, generating less finger movement (ex.8). lever } ex.8 The brilliante double tongued sixteenth notes at measure 35 should be evenly spaced and I played with a crisp articulation, as illustrated by the staccato marking on every note. The F s at measure 49 should be fingered using the middle finger in the right hand because the right ring finger needs to be used for the B n. On the other hand, in measure 43 regular F I fingering needs to I be used because right index finger is needed for the A. The last of the sixteenth note passages at measure 46-48 is technically very challenging, but can be easier facilitated by grouping it as follows (ex.9): 3 3 3 3 3 3 3 3 3 ex.9 Burton plays around the primary theme from the beginning of the movement at measure 54 until the end of the secondary section at the Tempo 1. Again, trill fingerings can be used for the triplets at measures 65 and 66. The two bars of rests before the Tempo 1 adds a witty ending to the middle section. In a performance, the best way to play on this pause is to remain still until the piano starts up again; any movement might result in an awkward moment for the player and their
audience. At the end of the movement, measure 97, the piano should be prominent, so I suggest I backing off on the F trill. Let the piano take over until the pickups to the last sixteenth note passage, which should be fortissimo until the sforzando high D at the end of the movement. Burton s Sonatina for Flute and Piano is one of America s greatest masterworks and is an essential addition to any flutists repertoire. Portraying all the wonderful facets of the flute, Sonatina holds a merit of style and beauty in flute literature worldwide. Bibliography Burton, Eldin. Sonatina for Flute and Piano. Carl Fischer: New York, NY. Smeets, Jos. Classical Composer s Database: Eldin Burton. Classical Composer s Database. 23 October 2000. <http://www.classical-composers.org/comp/burton_eldin> Still, Alexa. Personal Interview. 23 September 2008.