The Sonata was written at the request of a local flute teacher (Jane Carter) for two of her pupils (Louise Taylor & Ruth Hopkins) who were preparing to take Grade 8. I was asked to write a work in a 'romantic' style for two flutes and piano for a concert in May 2000. It was also suggested that the piece should bridge the gap between Grades 7-8 to help the two performers.

As part of the coursework for the second year of my music degree, I orchestrated the sonata in May/June 2000. It is scored for 2222 4331 Cel. Cym. S.Cym. Tri. Sn. Timp. Hrp. Stn.

Click here to view the orginal piano and flutes version (audio included!)..

You can view the score on my Sibelius website by clicking the links below. If you wish to purchase the score, please email me for a price list. Upon receipt of the fee, a PDF of the score will be emailed to the purchaser.

View Scores:
Two Flutes & Piano Version:
1) Movement One - Hecate: Ruler of the Underworld
2) Movement Two - Artemis the Virgin Huntress
3) Movement Three - Puck the Mischievous

Two Flutes & Piano Version

Composition of ‘Three Faces’
I had wanted to write a full-scale work for a long time and so set my mind on a complete sonata. I also wanted the composition to be free from rigid form in all movements - this is why the first movement is not in the conventional sonata form. Instead of a pre-planned form, I began formulating ideas on images, choosing to pick these images from Shakespeare's A Midsummer Night's Dream. I had studied the work at A-Level and had always like the many images and associations with the moon found in the play. I set about finding three contrasting images/portrayals of the moon for the basis of a pictorial sonata.

In A Midsummer Night's Dream the moon is a very important image with many contrasting portrayals with its associated gods/goddesses. The moon is sometimes portrayed in a sinister way being linked with Hecate who ruled the underworld. Secondly the character Puck is often linked with the moon carrying out much of his mischief by moonlight. Thirdly there is the more traditional romantic image of the moon. In composing the sonata, I decided to use this last image for the middle movement with a slow romantic theme.

I realised that without a planned structure I could run into difficulties of unity. To try and prevent this problem I began work on the third movement first and literally composed the work backwards. In this way, the ideas for the first two movements grew out of the final movement. I also established the interval of the 3rd as a thematic link. Whilst composing the finale, I had the main theme for the first movement already in note form.

Dates of Composition: The third movement was completed on the 25/1/00, the second on the1/2/00, and the first movement was completed on 28/2/00.

Some dates appearing of the original manuscript:
Mv.III: Started November 1999
Mv. II: 25/1/00 bb1-51; 28/1/00 bb52
Mv. I: 3/5/00 bb1-76; 4/5/00 bb77-122; date missing at 123 but marked as a composition point.

Recent Performances:
-(20/5/00) Egham, UK. Premiere performance. At the Egham and District Music Societies Young Persons' Concert. Performed by Louise Bunce (née, Taylor), Ruth Hopkins, & me.
-(24/6/06) Slough, UK. To be performed by the same people as above at a lunchtime concert at St. Mary's Slough. See the advert on my homepage for more details.

The orchestration was completed in Kingston on the 7th June 2000

Analysis:

Hecate: Ruler of the Underworld:
The first movement is based on the more sinister image of the moon and consists of a 'death waltz' reminiscent of Saint-Saen's Dance Macabre - I even quote the twelve chimes of Dance Macabre at the opening of the sonata. The whole movement (and indeed the sonata) is based on the interval of the 3rd, but disguised in the harmony. The harmony to the main theme moves around a circle of minor thirds (with slight deviation). For example, bb13-16 = C#m, Em, Gm, Bm; bb17-19 = C#m, Am F#m; bb20-23 = Gm, Bm, Dm, E#m (Fm) etc. The 3rd is sometimes seen in counter melodies or fragments such as in the accompaniment (b29) or in the chordal accompaniments.

The main theme is present at bar 13 by the second flute with echoes and added chromatic dissonance by the first flute. The piano states the beginning of the theme at b45 whilst the two soloists add another idea (oscillating quavers) which becomes important later as the accompaniment to the secondary theme. After an extended imperfect cadence (bb56-60), the secondary theme arrives (in the two flutes). It is in fact a variation on the first theme, but with the additional emphasis on false relation. As mentioned, the accompaniment during this secondary theme is based around the flute's motif of bb45-48. The theme is then repeated from bar 77 with variation in the accompaniment and a closing statement (bb85-90) taken directly from the main theme which culminates in an imperfect cadence on the chord of F major.

What follows is a play on the 'cold' imagery associated with the sinister light of the moon. The idea presented at b98 becomes the focus for the second movement of the sonata and in particular, the melody of 98 was used to construct bb39-45 of the middle movement. Again the interval of the third is present in the harmony (b98 G#/Ab-C-D#/Eb-G; b103 G#-B-D-F-Ab/G# repeated three times before b117). In this passage (103-117) the harmony is derived not only from the 3rd but also from the chords that are often used to harmonise the octatonic scale on G# (G#,A#,B,C#,D,E,F,G,G#). A fragment of the main theme of the movement is hinted at in the accompaniment at 101 featuring in cross rhythm. While the circle of 3rds continues, the opening chimes return (b110) in preparation for the returning theme. This is marked by the perfect cadence at b112. The theme is treated in much the same way as the beginning and many of its features remain the same such as the tri-harmony (bb135-138). The coda begins at b115 with the repeated harmony C#m-Am-C#m-Gm which was prepared briefly at bars 151-154.

Significantly, the first movement goes straight into the second with a pivot modulation of a major 3rd.

Mv.II Artemis: The Virgin Huntress
Artimis (also known as Diana) was a goddess of chastity and her association with the moon is a very poignant image in Shakespeare's play. The movement opens with the soloists, significantly without accompaniment. I wanted to highlight the change of 'moon' as the rest of the sonata could be described as busy while this is a point of reflection. The main theme was originally conceived while composing the finale in which it appears in the middle. As soon as I had composed the middle section of the finale, I intended to use is as the basis for the slow second movement. As already mentioned, this theme is first hinted at in the opening movement (bb98-101). The theme itself attempts to convey the romantic image associated with the moon and even quotes Moon River in the second half of the first phrase (b13). An important secondary motif is presented in the accompaniment at b18. The theme is repeated at b19 with two counter melodies, one played by the second flute, the other in the accompaniment. The theme is repeated again at b31 with the secondary motif developed as a counter melody by the first flute. The use of tri-harmony returns in bb35-45 with the sequence Bm-Dm-Fm-Am-Cm-Em-Gm-Bm-Dm-Fm-Am. This sequence links the 'cold' image of the first movement with the romantic image of the second. This is significant as it relates to confusion between mystical imagery and romance seen in Shakespeare's play. A coda section begins at b47 over an tonic pedal.

Mv.III Puck: The Mischievous
The third movement celebrates the mischief of Puck, Oberon's leading fairy. The light-hearted nature of the main theme (Puck's theme) represents his jollity at revelling in other people's mishaps (usually caused by Puck himself!). The interval of the 3rd is slightly less significant in this movement but can still be seen in the opening bass line. The theme is presented and then developed from b13. The harmony begins to shift from b29 leading into the second section. A short bridge (bb36-43) leads into the middle section - the romantic theme (first hinted at in the opening movement, and explored in detail in the middle movement). Thus the image of romance is heard throughout the sonata, mimicking its foundation in the play (Amor Vincit Omnia!). The theme varies from its original statement at its second reprisal in b52. Obviously, the interval of the 3rd plays the same role as in the second movement and the secondary motif from the middle movement (accompaniment b18) is employed again as a counter. This secondary motif from the middle movement eventually bursts forth at b66 as the harmony from the romantic theme is slightly varied over a tonic pedal. At b74, the romantic mood (and theme) is disrupted by Puck with a change of mood and tempo (Presto). As the presto section continues, the main theme of the finale (Puck's theme) is briefly developed from b86 over an off-beat accompaniment. After a chromatic run by the two flutes, the harmony returns to Emajor for the reprise of the main theme. A mock Ragtime style is created by the harmony and rhythms of bb105-106, again emphasising the jollity of the movement. With a ritenuto at b113, the coda begins with a miniature waltz derived from the semitone interval of the main theme of the opening movement. The second flautist changes to piccolo. The sense of rhythm is disrupted by the changing time signatures (possibly a Puck trick!). From b123 the end is in sight. The major themes from all movements are played simultaneously: flute one plays Puck's theme (bb123-end), the piccolo enters at b126 with Hecate's theme in cross rhythm, and the piano plays the romantic theme from 127. This is the climax of the sonata and helps illustrate (and emphasise) the way in which the three images of the moon presented in the sonata are often confused in the original play. The sonata ends with the opening three notes of the finale played by all but with the interval changed from a 6th to the octave.