He spoke with respect of the 'heavenly sound' of one of the best French flutists, Barrere. Nestyev, wrote, "The idea of composing a transparent graceful piece for the flute had interested Prokofiev years before in France, where the art of woodwind playing is highly cultivated. The idea for a flute sonata had occurred to him much earlier in his career when he heard French woodwind playing while in Paris. In 1942, Prokofiev received a commission from the Committee on Artistic Affairs in what was then the U.S.S.R. Looking at this material through the lens of an annotated chronology is immensely helpful in untangling the sonata's history and development. Harper also studied the initial 1944 violin transcription of the work and its later entanglements with the original flute part as illustrated through earliest sound recordings and later flute editions of the work, which provide a fascinating window into current editions and practical applications for the contemporary performer. These scores have provided significant source material and the foundation for a much sounder historical review of the composition. The photocopy of the Glinka Museum manuscript was obtained in 1993 from Nina Kogan, daughter of famed Russian violinist Leonid Kogan. Since then she has obtained copies of the two essential earliest Russian State Music Publishers editions from 19 and the 1958 edition by Russian flutist Nikolai Platonov, also published by the Russian State Music Publishers. Patricia Harper has studied this work for years at the 2002 NFA Annual Convention in Washington, D.C., she presented a comparative study of the Glinka Museum manuscript with, among others, the Carlton Sprague Smith Leeds edition from 1948 and the Jean Pierre Rampal International publication of 1958. These changes, derived from a co-existing violin transcription made by the composer, 68 years of discography, and countless editions of the work, beg these questions: What were Prokofiev's original intentions for the sonata, and how might we determine what to incorporate (or not) in our performances of the work today? However, compared to other early to mid-century sonatas of the same instrumentation, such as those by Poulenc, Hindemith, and Feld, Prokofiev's has developed a wide range of alterations over its 75-year history. 94, for flute and piano is a standard of the 20th-century flute repertoire. Their forthcoming urtext edition is grounded in the knowledge of what appears in the Glinka Museum manuscript and what we know of Prokofiev's inspirations for the piece. Javascript is required to submit files.More than 75 years after Sergei Prokovief composed his sonata, the authors discuss the work's current status as it has evolved in performance practice based on earliest sources, editions, and recordings. Public Domain - Non-PD Canada, Non-PD US, Non-PD EU
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March 2023
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