Senior Recital Program

Don R. Haught
Sonata in F Major

Benedetto Marcello (1686-1739)

I. Adagio
II. Allegro
III. Largo
IV. Allegro
Poem for Flute and Piano
1920)
Three Beats for Beatbox Flute
1977)
Sonata for Flute and Piano

Charles T. Griffes (1884Greg Pattillo (b.

Bohuslav Martinu (1890-1959)

I. Allegro moderato
II. Adagio
III. Allegro poco moderato
Here We Go Again (for Flute Quartet)
Mike Mower (b.
Jane Berkner, Devyn Renninger, and Emily Minns, flute

While much of Benedetto Marcellos output is vocal works his instrumental works
are still quite popular today. First published in 1712 in a set of 12 Sonatas for Recorder,
Marcellos Sonata in F Major for Flute. The opening adagios consistent dotted
rhythms come to a close with a sudden minor chord leading into a cadential figure. The
second movement A brief third movement finally brings the sonata into a minor key.
This slow movement makes great use of sequences which leave the listener somewhat
unsettled up until the final half cadence. The sonata closes with a dance-like movement
in compound meter
Charles T. Griffess Poem was originally premiered with the New York Symphony
Orchestra in 1919. The principal flutist, Georges Barrere was the soloist. Griffes died
less than two years later, around the time that Barrere arranged the work for flute and
piano. Following an opening melody that is traded from orchestra to solo flute, a tranquil
motive interrupts before the work erupts into a journey that sounds both mysterious and
fanciful. The orchestra and solo flute frequently trade motives back and forth and
interrupt one another in doing so. The work closes with a statement of Griffess tranquil
melody and a simple restatement of the opening material.

Senior Recital Program

Don R. Haught
Three Beats for Beatbox Flute by Greg Pattillo was commissioned for the 2011
National Flute Association High School Competition. The work combines traditional style
of the flute with the art of Human Beatboxing, or imitating the sounds of drums. The
work is divided into three beats, or movements, of contrasting style and feel, performed
mostly without interruption.

Sonata for Flute and Piano, was written by the Czech composer Bohuslav
Martinu for George Laurent, the principal flutist of the Boston Symphony Orchestra.
Throughout the sonata, Martinu makes use of an incredible amount of syncopation, often
masking the beat in a flurry of up-beats. In the first movement, flute and piano often
trade melodic material. The second movement is a great contrast to the first, featuring a
much slower tempo but still many of the same syncopated conversations between flute
and piano. The material from the third movement comes from Martinus time nursing an
injured bird to health in Cape Cod. The motive from this movement come from the birds
song.