Sonate Romantique.

(for flute or violin and piano), by Paul Badura-Skoda. Editions Musicales Alphonse Leduc/Theodore Presser Company (588 N. Gulph Rd., King of Prussia, PA 19406), 1984. 9 pp. flute or violin, 25 pp. piano; $42.95. Late Intermediate.

The musical talents of Paul Badura-Skoda include more than his world-class pianism, for he also is a gifted composer. My introduction to his work as a composer was in the form of his Sonate Romantique for flute and piano. This engaging, idiomatic work is thoroughly romantic in sentiment and would be a welcome addition to a recital program.

Badura-Skoda is at his best in the many lyrical sections of the piece, which include most of the outer movements as well as the wistful trio of the middle scherzo movement. He has a fine gift for melody, and it would be fair to say that melodic considerations drive the piece. This is especially true of the animated scherzo, in which the melodic material is treated in a tightly contrapuntal manner.

The overall timbral considerations for both instruments are quite dark, which make a fine juxtaposition with the bright overall timbre of the flute. The harmonic language, at times quite diatonic, becomes richly chromatic for expressive effect. One clearly hears the Viennese in this composer, as the more diatonic moments of the piece often rely on parallel thirds and sixths for their momentum.

Both parts, while not virtuosic, need strong players to do them justice. The flute part's range and the necessity for the player to be able to produce a wide range of dynamics, colors and articulations, including flutter-tonguing, require an able flutist. The demands on the pianist are similarly wide, and the subtle dynamics, articulations and tempo changes require a sensitive accompanist.

The optional violin part, like the flute and piano parts, is beautifully edited. In the violin version, Badura-Skoda writes double stops, pizzicato and tremolo indications and so forth, keeping with the capabilities of the violin. This version, however, is overall not as satisfying or idiomatic as the flute version. For example, some of the higher, faster, disjunct passages in the scherzo are quite awkward to play in the "leggiero" manner indicated. Further exploration of the G string would be welcome here.

I do urge flutists in particular to seek out this work. Badura-Skoda has excellent musical ideas, and they unite here in a piece that, while clearly written in the twentieth century, has a romantic warmth and a general compositional style that is not overly intimidating for performers or the audience. Thanks to flutist Bronwell Bond for her willingness to read the work with me and for her insightful observations. Reviewed by Jonathan Graber, Meadville, Pennsylvania.