~~~~~ Acknowledgment from the channel owners ~~~~~ We would like to express our gratitude to Professor Ana Laura González of Hartwick College for providing us with the score used in this video. Prof. González’s dissertation on flute works by Argentine composers (Alberto Williams, Amancio Alcorta, and Angel Lasala) also provides helpful insight into the structure of Williams’ sonata, as well as Williams’ musical influences. We are extremely thankful for her support. We would also like to thank all of our subscribers for supporting this channel and for bringing us past 500 subscribers! School and other responsibilities have led us to take a longer break than usual from uploading, but we hope to upload more score videos in the next couple of weeks. Thank you for subscribing and listening, and stay tuned! ~~~~~ Composer biography ~~~~~ Alberto Williams (1862-1952) was an Argentine composer and music educator who played a key role in the development of classical music in Argentina during his lifetime. He was born in Buenos Aires and began studying piano at a young age, performing works by Liszt and in the famous Teatro Colón as a teen. At the age of 20, on a scholarship from the government of Argentina, he studied piano at the Paris Conservatory with George Mathias (a pupil of Chopin), harmony with Emile Durand, and counterpoint with Benjamin Godard. Williams also took private composition lessons with César Franck. He then returned to Argentina a decade later in 1892. Williams’ compositional output can be divided into three distinct periods. In the first period, his work was in the Romantic style, influenced mainly by contemporary European music. In the second period, he primarily composed works with stronger Argentine folk influences, including the piano suite En la sierra, the Argentine Suites for string orchestra, and the flute sonata you are hearing. In the third and final period, his music took on more modernist elements, as in the majority of his nine symphonies - of these, all but the first have a unique subtitle. Besides these works, Williams wrote chamber music, symphonic poems, choral works, and songs (for which he wrote some of the texts). Williams was the founder of the Buenos Aires Conservatory of Music, later known as the Williams Conservatory. One of his notable pupils was the pianist and composer Lía Cimaglia Espinosa, who later studied in Paris and would become a professor at the Conservatory herself. The Argentine composer Alberto Ginastera also studied at the Conservatory, graduating with a gold medal in composition. He was also an amateur astronomer, having documented his observations of Halley’s comet when it approached Earth in 1910. Williams died in 1952 in Buenos Aires. His son, Amancio Williams, was a distinguished modernist architect. ~~~~~ Program notes ~~~~~ Alberto Williams’ Flute Sonata was published in 1905 by three firms: Gurina and Company in Argentina (Williams’ own publishing firm), Brietkopf and Härtel in Germany, and Augener and Company in England. Williams dedicated the sonata to the flautist Luis Gorín, who later taught at the Williams Conservatory. 0:10 - Allegro assai The first movement of Williams’ sonata is in sonata-allegro form, and like many traditional Argentine dances, it is in 6/8 time. The piano begins the movement with lilting figurations in different registers, after which the flute plays a series of staccato eighth notes, which are echoed by the piano. While tentative and tinged with melancholy, the first theme becomes more and more decisive, leading directly to the second theme. This theme is extremely lyrical, and Williams marks the piano accompaniment for it “armonioso” (harmonious). While the theme is at first a welcome solace from the agitation of the previous theme, it eventually builds in volume and intensity, leading to the end of the exposition. The development begins with a fragment of the first theme. Williams introduces a new motif soon after, starting with a rising fifth in the flute. As in the exposition, Williams uses small motifs and frequent modulations to build intensity, leading to a triumphant cadence in B major. Here, both piano and flute repeat the dominant and tonic pitches (F-sharp and B) in lower and lower registers. A brief pause leads to the first movement’s recapitulation, which is nearly identical to the exposition, save for the piano’s grandiose arpeggio at the end. 9:20 - Andante The second movement begins with a rhapsodic, wistful theme played by the piano, marked by diminished harmonies and unresolved phrases. The flute follows with the same material, as the piano supports with flowing accompaniment. Williams’ harmonic language here is extremely chromatic, modal, and unsettled, venturing into several different keys. A meditative transition leads to an incredibly peaceful second theme. It is mostly in the key of G major, though with a surprising modulation in the middle to A-flat major, one semitone up. An interlude played by the piano follows; it begins with short phrases, but slowly builds to a restatement of the first theme, in the form of chords marked “tutta forza con passione” (full force with passion). The flute enters in a higher register, while the piano’s accompaniment remains intense and passionate. Williams then presents the second theme in the home key of C major. As in the exposition, the theme modulates one semitone up to D-flat major; eventually, though, the original key prevails, as flute and piano end on a soft C major chord. 16:01 - Allegro The third movement is in E minor and is once again in sonata-allegro form. As in the first movement, its compound meter recalls traditional Argentine dances. The piano alone begins the movement with a searching, syncopated theme, giving way to an extended, wistful circle of fifths sequence. Afterwards, the flute enters with the same theme, as the piano accompanies with sixteenth notes in its high register. With a series of flute trills and a powerful crescendo, Williams introduces the sonata’s second theme; in C major, it alternates between exuberant and lyrical phrases. The closing theme starts softly and melodically, but leads to a grand final gesture. The development of the third movement is furtive in character, defined by short fragments traded between the piano and flute, though with the occasional unison outburst. A florid piano passage creates a sudden transition to the recapitulation. Williams then presents the second and closing themes in E major. The entire movement concludes with a virtuosic coda filled with rising and falling flourishes. *Note: These program notes are the result of many hours of reading, listening, writing, and editing. Please do not reproduce them without crediting us. Sources: 1. (in Spanish) “Alberto Williams.” In Wikipedia, es.wikipedia.org/wiki/Alberto_Williams. Accessed February 28, 2023. 2. González, Ana Laura. “European Cosmopolitanism and Folkloricism: The Development of an Argentine National Style as Revealed in Selected Works by Amancio Alcorta, Alberto Williams, and Ángel Lasala.” Dissertation, University of Arizona, 2007. 3. (in Spanish) Paolantonio, Santiago and Armandao Zandanel. “Armonías del cielo.” Historia Hoy, historiahoy.com.ar/armonias-del-cielo-n2959. Accessed February 28, 2023. 4. Schwartz-Kates, Deborah. “Ginastera, Alberto.” In Oxford Music Online. Oxford University Press, 2001. 5. Salgado, Susana. “Williams, Alberto.” In Oxford Music Online. Oxford University Press, 2001.
Excelente obra y mejor interpretación ‼️👏👏👏👏👏
~~~~~ Acknowledgment from the channel owners ~~~~~
We would like to express our gratitude to Professor Ana Laura González of Hartwick College for providing us with the score used in this video. Prof. González’s dissertation on flute works by Argentine composers (Alberto Williams, Amancio Alcorta, and Angel Lasala) also provides helpful insight into the structure of Williams’ sonata, as well as Williams’ musical influences. We are extremely thankful for her support.
We would also like to thank all of our subscribers for supporting this channel and for bringing us past 500 subscribers! School and other responsibilities have led us to take a longer break than usual from uploading, but we hope to upload more score videos in the next couple of weeks. Thank you for subscribing and listening, and stay tuned!
~~~~~ Composer biography ~~~~~
Alberto Williams (1862-1952) was an Argentine composer and music educator who played a key role in the development of classical music in Argentina during his lifetime. He was born in Buenos Aires and began studying piano at a young age, performing works by Liszt and in the famous Teatro Colón as a teen. At the age of 20, on a scholarship from the government of Argentina, he studied piano at the Paris Conservatory with George Mathias (a pupil of Chopin), harmony with Emile Durand, and counterpoint with Benjamin Godard. Williams also took private composition lessons with César Franck. He then returned to Argentina a decade later in 1892.
Williams’ compositional output can be divided into three distinct periods. In the first period, his work was in the Romantic style, influenced mainly by contemporary European music. In the second period, he primarily composed works with stronger Argentine folk influences, including the piano suite En la sierra, the Argentine Suites for string orchestra, and the flute sonata you are hearing. In the third and final period, his music took on more modernist elements, as in the majority of his nine symphonies - of these, all but the first have a unique subtitle. Besides these works, Williams wrote chamber music, symphonic poems, choral works, and songs (for which he wrote some of the texts).
Williams was the founder of the Buenos Aires Conservatory of Music, later known as the Williams Conservatory. One of his notable pupils was the pianist and composer Lía Cimaglia Espinosa, who later studied in Paris and would become a professor at the Conservatory herself. The Argentine composer Alberto Ginastera also studied at the Conservatory, graduating with a gold medal in composition. He was also an amateur astronomer, having documented his observations of Halley’s comet when it approached Earth in 1910. Williams died in 1952 in Buenos Aires. His son, Amancio Williams, was a distinguished modernist architect.
~~~~~ Program notes ~~~~~
Alberto Williams’ Flute Sonata was published in 1905 by three firms: Gurina and Company in Argentina (Williams’ own publishing firm), Brietkopf and Härtel in Germany, and Augener and Company in England. Williams dedicated the sonata to the flautist Luis Gorín, who later taught at the Williams Conservatory.
0:10 - Allegro assai
The first movement of Williams’ sonata is in sonata-allegro form, and like many traditional Argentine dances, it is in 6/8 time. The piano begins the movement with lilting figurations in different registers, after which the flute plays a series of staccato eighth notes, which are echoed by the piano. While tentative and tinged with melancholy, the first theme becomes more and more decisive, leading directly to the second theme. This theme is extremely lyrical, and Williams marks the piano accompaniment for it “armonioso” (harmonious). While the theme is at first a welcome solace from the agitation of the previous theme, it eventually builds in volume and intensity, leading to the end of the exposition.
The development begins with a fragment of the first theme. Williams introduces a new motif soon after, starting with a rising fifth in the flute. As in the exposition, Williams uses small motifs and frequent modulations to build intensity, leading to a triumphant cadence in B major. Here, both piano and flute repeat the dominant and tonic pitches (F-sharp and B) in lower and lower registers. A brief pause leads to the first movement’s recapitulation, which is nearly identical to the exposition, save for the piano’s grandiose arpeggio at the end.
9:20 - Andante
The second movement begins with a rhapsodic, wistful theme played by the piano, marked by diminished harmonies and unresolved phrases. The flute follows with the same material, as the piano supports with flowing accompaniment. Williams’ harmonic language here is extremely chromatic, modal, and unsettled, venturing into several different keys. A meditative transition leads to an incredibly peaceful second theme. It is mostly in the key of G major, though with a surprising modulation in the middle to A-flat major, one semitone up.
An interlude played by the piano follows; it begins with short phrases, but slowly builds to a restatement of the first theme, in the form of chords marked “tutta forza con passione” (full force with passion). The flute enters in a higher register, while the piano’s accompaniment remains intense and passionate. Williams then presents the second theme in the home key of C major. As in the exposition, the theme modulates one semitone up to D-flat major; eventually, though, the original key prevails, as flute and piano end on a soft C major chord.
16:01 - Allegro
The third movement is in E minor and is once again in sonata-allegro form. As in the first movement, its compound meter recalls traditional Argentine dances. The piano alone begins the movement with a searching, syncopated theme, giving way to an extended, wistful circle of fifths sequence. Afterwards, the flute enters with the same theme, as the piano accompanies with sixteenth notes in its high register. With a series of flute trills and a powerful crescendo, Williams introduces the sonata’s second theme; in C major, it alternates between exuberant and lyrical phrases. The closing theme starts softly and melodically, but leads to a grand final gesture.
The development of the third movement is furtive in character, defined by short fragments traded between the piano and flute, though with the occasional unison outburst. A florid piano passage creates a sudden transition to the recapitulation. Williams then presents the second and closing themes in E major. The entire movement concludes with a virtuosic coda filled with rising and falling flourishes.
*Note: These program notes are the result of many hours of reading, listening, writing, and editing. Please do not reproduce them without crediting us.
Sources:
1. (in Spanish) “Alberto Williams.” In Wikipedia, es.wikipedia.org/wiki/Alberto_Williams. Accessed February 28, 2023.
2. González, Ana Laura. “European Cosmopolitanism and Folkloricism: The Development of an Argentine National Style as Revealed in Selected Works by Amancio Alcorta, Alberto Williams, and Ángel Lasala.” Dissertation, University of Arizona, 2007.
3. (in Spanish) Paolantonio, Santiago and Armandao Zandanel. “Armonías del cielo.” Historia Hoy, historiahoy.com.ar/armonias-del-cielo-n2959. Accessed February 28, 2023.
4. Schwartz-Kates, Deborah. “Ginastera, Alberto.” In Oxford Music Online. Oxford University Press, 2001.
5. Salgado, Susana. “Williams, Alberto.” In Oxford Music Online. Oxford University Press, 2001.
Beautiful, thank you.
Nice sonata to listen to, but it seems very technically demanding to play!