Suite for Flute and Guitar
Edward P. Mascari
About this work:
Commissioned by Laura Vincent (flute) and Aaron Caplan (guitar), this composition is designed to exhibit the individual characteristics of each instrument as well as to explore the possibilities inherent in this delightful instrumental combination. The first performance of the Samba was given by the duo in January 2003 in Worcester, Massachusetts as part of the Royal Academy Professional Artists’ Series.
I. Samba: This movement is in ABCA form. After a brief opening section, the flute introduces the A theme. The flute then continues to elaborate and develop the melodic material while the guitar provides rhythmic and harmonic support. After maintaining an accompaniment role for most of the A section, the guitar plays a short solo transition and then introduces the B section. This central part of the piece is cast in 8/8 meter, and the tempo is slower. The flute once again handles the thematic material. However, the guitar now begins to play in a more linear fashion. Its counter lines often function as an obbligato. In other passages, the focus of the counterpoint is on imitation of the flute lines. The intensity and volume of the B section increases as the flute plays runs which move into its highest register. The guitar’s powerful rasgueado (flourish-like) six-note chords serve to punctuate these flute lines which provide the transition to the next section. The C section, which is a guitar cadenza, incorporates linear and chordal material as well as harmonics. Just before the end of the cadenza, the transition material (which the guitar played just before the beginning of the B section) returns as a palindrome. After the powerful conclusion of the cadenza, the flute reenters to usher in the return of the A section. A short fiery coda concludes the movement.
II. Pas de deux: This movement is in ABA form. It features the interchange between the two instruments. It's moderate tempo emphasizes the romantic nature of the duet.
III. Swing: This movement is in ABA form. It emphasizes the style of music suggested by its title. The language is tonal. The harmonies and melodic lines are directly derived from jazz. The technique of flutter tongue is used in the flute part.
Year composed: 2003
Duration: 00:16:00
Ensemble type: Chamber or Jazz Ensemble, Without Voice:Other Combinations, 2-5 players
Instrumentation: 1 Flute, 1 Guitar (Classical/Acoustic)
Instrumentation notes: Each movement may be performed separately or within the context of the entire composition.
Flute uses fluttertongue technique in the 3rd movement. Guitar tunes bottom string down to D for the 2nd movt. and back to E for the 3rd movt.