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Silvia Careddu, Prokofiev, Flute Sonata

Sequence published on 2/19/21
Composer : Serguie Prokofiev
Year of composition : 1943
Artistic period : 20th century
Musical category : Sonata
Academy : Academy Feb. 14 - Feb. 21, 2021
Master(s) : Silvia Careddu
Student : Francesco Checchini
Date of recording : 10/22/21
Instrument(s) played :

"You are used to comfort. But we need some fragile moment that is fragile also when you play." Silvia Careddu

About the Flute class by Silvia Careddu on the Sonata

Flute Master Class, Silvia Careddu | Prokofiev, Sonate

The main issue of this class on the Flute Concerto composed by Reinecke is the search for the
interpretation of this piece’s character, of the differentiation of different moments, and of all the
technical and expressive elements that come into play. 

From the beginning, the master emphasizes that the title of this second movement is “lugubre…
A little bit dark and heavy in the spirit. As I said, slow e mesto. And later on, when the flute starts
to play he wants with dolore (…) We have really to catch the spirit that is passing from a very,
let's say painful phrasing to also kind of hope”. The search to interpret these indications written
by the composer is a constant during this class: "We have really to read what the composer
writes and break our heads to know how to realize these things"
Therefore, the main objective is to highlight the color of the sound, the vibrato, the way of
articulating, the listening of the harmony and the orchestra, the breathings, slurs, direction,
among many aspects that are worked on in this inspiring master class. 

What we learn in this Flute Master class

- Sometimes, exaggerating things that are very clear for the musician, but for who is listening
maybe not, is important
- One can be stringendo but with a lot of engagement
- The key to doing this is to take some risk
- There is a logic in a rallentando or an accelerando. One has to be aware of that. It's not about
making calculations but it's about feeling the pulse in a ritardando or an accelerando
- Everything makes beauty, not only of the phrasing but the sound, intonation, speed

About Sergueï Prokofiev's work

Carl Reinecke, Concerto, op. 283, Second Movement In William E. Runyan's words, this concerto, which was written in 1908, two years before his death, is cast in the usual three movements, in the German romantic style of times long before—that of Mendelssohn and Schumann. While curiously anachronistic (the Rite of Spring was just around the corner!) it is a well-conceived work in every respect. Its harmonic idiom is the rich language of romanticism, even suggesting a bit of Brahms.
Reinecke’s mastery of the orchestra is everywhere present in the warm and imaginative orchestration. This is no banal, stereotypical flute concerto, with a simple “boom-chick” accompaniment to a solo flute that indulges itself in a mindless string of virtuosic technical roulades. Rather, we are treated to a flute solo that exhibits just enough technical fluency to enhance the composer’s obvious melodic gifts and an orchestral part that easily stands on its own in its varied and creative independence.
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