Sonata in G minor for Flute and Piano

The combination of the special music of Debussy and a sensitive arrangement is hard to resist and this is exactly what we have here. Anna Kondrashina has pitched this to ensure that Debussy's strong lines are best served by the colours the flute. This results in alterations to the registrations and divisions of the material between flute and piano that are very effective. It's almost as if Debussy knew this piece would eventually be arranged for us and made sure it would work!

This is a beautifully presented version of Debussy's violin sonata, arranged for flute and piano. The arrangement is well suited to the flute and any octave changes from the original are well-managed and never interrupt the flow of the music.

The flute is often situated quite low in its range, and there are moments where balance could be an issue for some players; Debussy's piano writing can include dense chords and rich resonances, which provides a welcome opportunity for any flute player to explore tone colours and projection. As one might expect from violin music, there are passages which make use of the high register too, meaning that this arrangement makes full use of the flute's range to excellent effect.

The Sonata was written in 1917 and was Debussy's last completed work. In three movements, Allegro vivo, Intermède: Fantasque et léger and  Finale: Très animé, there is plenty of opportunity for character and expression, with moments of dialogue and playful interaction between the two instruments. The first movement is fast moving but has space for expression and warmth, and here we find some of the more lyrical moments of the sonata. The second movement opens with a flute cadenza, providing space for soloistic playing and contrast. Scherzo-like sections are interspersed with more flexible phrases. The final movement is fast and energetic, with flowing semiquavers and heaps of excitement.

This is a significant work which has been effectively borrowed for the flute repertoire; playing violin music on the flute is not uncommon, especially as violin works can often be more substantial than our own repertoire can sometimes be. This of course requires additional stamina and perhaps a different kind of musical understanding to convey the bigger structures, but it can often be highly effective. In this case, the arrangement feels both natural and highly convincing and I have no doubt this arrangement will become increasinly frequently heard in flute recitals. Recommended.