Burton’s Sonatina for Flute & Piano: A Practice Guide by Molly York

Sonatina for flute and piano may be Burton’s “one hit wonder,” but it has stood

the test of time, making it a standard in flute literature and well loved worldwide. Eldin Burton

was an American pianist who had ambitions of being a composer. Burton took Sonatina, which

was a piano piece at the time, to a composition class at Julliard and the professor told him that it

“sounded like more than just a piano part” and suggested that Burton rewrite the piece to include

Samuel Baron, a fellow class-mate, on the flute. (Still Interview)

Sonatina for Flute and Piano won the first and last New York Flute

Club Composition Contest in 1948. The first performance was given

by Samuel Baron, who later became a revered American flute teach-

er as a professor of music at Stony Brook, chair of the Woodwind

Department at Julliard, and the founder of the New York Woodwind

Quintet. The prize for winning the contest was a publication offer

from G. Schirmer Inc., assuring it’s survival in the flute repertoire.

After his success, Burton took a job with Schirmer, but did not find affluence in composing seeing

that his only other composition, a flute concerto, was never published.

I - Allegretto grazioso

This movement is marked as a quarter note equals 96, but go a little faster, a quarter note

equals 112, to make the movement move little more. Although the beginning of this movement

is not technically difficult, the phrasing can be problematic. I suggest that the player aim for the

Samuel Baron (1925-1977)

As and emphasize the peak of each subphrase. This way the phrasing moves and avoids sounding

stagnant. The example (ex.1) below illustrates my suggestion.

Vibrato needs to be prominent throughout this fist section, especially when the fist theme jumps the

octave at measure at measure 10. At this point, the theme has been stated two times in both octaves

then at measure 22 the pitches of the melody change. Burton changes the tonality by going from

major to minor at measure 22 to create a more mysterious feeling and acknowledging the difference

adds to the players musicality. Take a more enigmatic approach than the previous statements of the

theme and change your tone color to signify the tonality shift from the beginning. Furthermore, it

is important to notice that at the end of every phrase up to measure 30, the accompaniment has a

crescendo, so it is important for the player to support the last note of the phrase and not crescendo

or let the sound diminish (ex.2).

At the Più mosso and anywhere in the movement where there is a dotted eighth and triplet

passage, it is important that the player distinguish between the triplet and the sixteenth note and

retain the rhythmic integrity of the triple verses duple subdivision. For instance, do not lengthen

m. 16 m. 29

ex.2

_ __g

_g ex.1

[ [ [[Phrase [ [

Subphrase _ _ _ _

peak of each subphrase = metric accent

the sixteenths or shorten the triplets; play a true dotted eight-sixteenth and a true triplet. Practice

shifting from a triple subdivision to a duple subdivision. At measure 33 and 34 using the double

thumb Bb will help easier facilitate the sextuplets. However, the player will need to quickly slide

the thumb back over to the B key for the FIs. Measure 31 to 70 contains many scalar passages

and in order easier facilitate, it is important understand what scale is being used. Here are some

examples (ex.3):

The Tempo Primo begins the transition back to the beginning theme with an interruption of

the middle section at the a tempo and Più mosso. During the ritard at measure 87, adding length

to the marcato triplets creates a more dramatic ritard into the Più mosso (Animato). A fast vibrato

is a must in this section, especially in this register. The syncopated rhythms starting in measure

91 should sound relaxed, not agitated. It is best to think of the syncopations as light and jazzy

otherwise the repetition of the syncopated rhythms will some mundane and out of place. I suggest

the following breaths to help with phrasing (ex.4).

G hamonic minor Ab Major

[ ] [ ]m. 41

<<

<

ex.3

ex.4

At this point in the piece it is easy to tense up and rush because of the register, syncopation,

and E Major scale runs, but the ending needs to feel relaxed and amiable, otherwise, the unwinding

aftermath of the end of this movement, leading into the slow movement, will not be effective.

II - Andantino Sognando

The meaning of Sognando is “to dream” and Burton, along with composers in the past, such

as Debussy, use the flute to portray a dream-like ambiance. This movement is wonderful because

Burton utilizes all of the beautiful aspects of the flute - color, range, and technique. Making use

of ternary form, this movement is divided up into three sections, an

A section, a B section, and the repeat of the A section (ABA). The

beginning of the movement is marked mezzo forte and remains that

way until the crescendo poco a poco at measure 13. It leaves ample opportunity to the performer

to add musicality and phrasing. I suggest starting the beginning at a mezzo piano followed a

crescendo to a mezzo forte on the succeeding half note. Furthermore, lifting the B quarter note and

then placing the half note can be effective (ex.5). This technique also includes pickups to measure

9 and measure 40.

The mood of the movement changes at measure 12 into a few lighthearted measures and is followed

by the first high moment of the movement at measure 14, a measure later ending the section in a

feeling of melancholy.

Measure 21 begins the B section, which takes on an anxious quality with forte and fortissimo

_.

ex.5

Ternary Form

A B Am.1 m.19 m.31

32nd scalar passages. It is essential while playing the 32nd note passages that the player groups

the notes to facilitate the technique. I suggest the following groupings (ex.6):

The beginning theme, or the A section, returns at measure 31 at a mezzo forte until measure

38, which is marked Quieto. Quieto is defined as calm, still, or peaceful and should be reflected

as so until the end of the movement. The last measure of this movement is difficult because the

player is diminishing on a B harmonic. This can be more comfortably played if the player fingers

a middle E and over blowing to the B harmonic. Also, taking a breath right before the last note

should ensure a confident ending. Lastly, utilizing non vibrato while diminishing the sound allows

the sound to evaporate.

III - Allegro giocoso quasi fandango

Fandango is defined as an animated Spanish or Spanish-American dance in triple time.

Burton uses triplets on the strong beats in 6/8 time throughout the whole movement. Beginning at

a slow tempo will help accurately put the triplets within the correct beat. The opening should be

[ [ [ [ [ [

[ [ [ [

[ [ [E Major E Major

ex.6

ggg g

4 43 3 4 4

4 5 5 6

played with integrity and assurance

and all of the accents should be well

articulated and placed directly on

the beat. Because the triplets are

hard to facilitate with regular flute

fingerings, in the opening section

and throughout the movement, using

trill fingerings (ex.7) will allow

for more comfortable and smooth

triplet sixteenths. It is important

to remember that just because trill

fingerings are being used, they are

not considered just a wiggle of the

finger, but accurate triplet sixteenths

within the eight note.

At measure 23 and 24,

overblown Bn

and CI harmonics

using the CI

trill key can be used for easier facilitation along with a strong and continuous stream

of air which will keep the pitch from going flat. Also, because of the repetition of measures 23

and 24, adding a crescendo creates a driving effect to heighten the forte at measure 25. The FI

at measure 25 should be accented and placed directly on the beat. Bb lever is the best way to

facilitate the AIs and the triplets from G

I to A

I in measures 27 and 30. Furthermore, B

b lever can

ex.7

I

CI trill

m. 4m. 21-22m. 76m. 93-94

m. 4m. 21-22m. 64m. 76m. 93-94

m. 5m.65m. 77

m. 13m. 85

m. 13m. 85

m. 14m. 86

m. 64

m. 65

trill keyscovered keys

remain employed while playing between the GI to A

I, generating less finger movement (ex.8).

The brilliante double tongued sixteenth notes at measure 35 should be evenly spaced and

played with a crisp articulation, as illustrated by the staccato marking on every note. The FIs at

measure 49 should be fingered using the middle finger in the right hand because the right ring

finger needs to be used for the Bn. On the other hand, in measure 43 regular F

I fingering needs to

be used because right index finger is needed for the AI. The last of the sixteenth note passages

at measure 46-48 is technically very challenging, but can be easier facilitated by grouping it as

follows (ex.9):

Burton plays around the primary theme from the beginning of the movement at measure 54

until the end of the secondary section at the Tempo 1. Again, trill fingerings can be used for the

triplets at measures 65 and 66. The two bars of rests before the Tempo 1 adds a witty ending to

the middle section. In a performance, the best way to play on this pause is to remain still until the

piano starts up again; any movement might result in an awkward moment for the player and their

}lever

ex.8

[ [ [

[ [ [ [ [ [

ex.93 3 3

3 3 33 3 3

audience.

At the end of the movement, measure 97, the piano should be prominent, so I suggest

backing off on the FI trill. Let the piano take over until the pickups to the last sixteenth note

passage, which should be fortissimo until the sforzando high D at the end of the movement.

Burton’s Sonatina for Flute and Piano is one of America’s greatest masterworks and is

an essential addition to any flutists’ repertoire. Portraying all the wonderful facets of the flute,

Sonatina holds a merit of style and beauty in flute literature worldwide.

Bibliography

Burton, Eldin. “Sonatina for Flute and Piano.” Carl Fischer: New York, NY.

Smeets, Jos. “Classical Composer’s Database: Eldin Burton.” Classical Composer’s Database. 23 October 2000. <http://www.classical-composers.org/comp/burton_eldin>

Still, Alexa. Personal Interview. 23 September 2008.