Uploaded April 2010 | Updated September 2026, 2 hours ago
In the term Invention I have retained the aspect of structural aphorism that it can musically reestablish. We think of those famous Inventions of J. S. Bach. Here, microstructure is most often an aggregate (chord), having as an equivalent a group of durations, a nucleus of intensities. Neo-serialism, one might say at least as far as the use of strict equivalences is concerned. But the work strongly attempts to alternate and alternatively mix strict meter with suspended rhythm. The cadential element plays an important cole, corroborating a certain virtuosic writing: first part, flute cadence, 1st piano cadence card cadence at the center (interludes) second part, 2nd piano cadence.
Gilbert Amy
(We apologize once again for the poor sound quality of this 1960s LP.)
In the term Invention I have retained the aspect of structural aphorism that it can musically reestablish. We think of those famous Inventions of J. S. Bach. Here, microstructure is most often an aggregate (chord), having as an equivalent a group of durations, a nucleus of intensities. Neo-serialism, one might say at least as far as the use of strict equivalences is concerned. But the work strongly attempts to alternate and alternatively mix strict meter with suspended rhythm. The cadential element plays an important cole, corroborating a certain virtuosic writing: first part, flute cadence, 1st piano cadence card cadence at the center (interludes) second part, 2nd piano cadence.
Gilbert Amy
(We apologize once again for the poor sound quality of this 1960s LP.)
![Claude Ballif, Sonate pour flûte et piano Op. 23 [1958] - 2 of 2](https://i.ytimg.com/vi/_LQ2MxF9Wuo/mqdefault.jpg "Claude Ballif, Sonate pour flûte et piano Op. 23 [1958] - 2 of 2
The work establishes an even dialogue between the two protagonists, giving rise to a very light pianistic discourse. The sonata is in one movement, in the form of an arc, with a return to the beginning. The central part is a virtuoso piece for the flute, with nervous sputterings and impressions of counterpoint for two voices, which recall a preliminary draft for violin and piano. In the score, a line by Dante prolongs the impressionof the last bars with a diamond-like purity: Quanto grazia e dolcezza si vede il loro. He allows the resonance to die down in an atrosphere of perfect serentiy.")
