Midwinter Musings For Flute Analysis

CHAMBER RECITAL The first piece written by Lowell Liebermann, Sonata for Flute and Harp, Op. 56 was a vibrant piece music dealing mostly with chromaticism at its center. The harp slowly and gradually moves in a crescendo with an almost synonymous sound to a suspense movie. The flute on the other hand, acts as the amplifying instrument that amplifies the tension created by the harp. Similarly, David Kechley’s piece, Available Light: Midwinter Musings for Flute and Harp possesses almost the same characteristics as Liebermann’s piece with an exemption of a calm and soothing reflective 3rd movement, the Lyric Transformation. The 1st and 2nd movement, Frenetic Reflection and Cold Fusion desperately dives into an even more chromaticism while still
mostly in a fast or allegro rhythm. The difference however, is the syncopation and overblown notes in Cold Fusion, thus adding more tension. The third movement sets itself apart from Kechley’s whole piece as it resonated to a soothing diatonic and consonant music as opposed to wild tension created by Liebermann’s piece and the 1st two movements in Kechley’s piece. Lastly, Claude Debussy’s Sonata for Flute, Viola and Harp possesses a mixture of chromatic and diatonic harmony. It transitions from diatonic to chromatic harmony almost flawlessly: which highlights the piece’s complexity. In fact, Debussy once described the piece to Robert Godet as both laughable and sad at the same time. Nevertheless, the piece resonates an almost cyclic form of going form consonant to dissonant and vice-versa, which allows the listeners to feel the complexity innate to the piece.