Otar Taktakishvili: Sonata For Flute And Piano

Books | Flute, Piano

Publisher: G. Schirmer
Composer: Otar Taktakishvili
Format: Sheet Music | Instrumental Album

Otar Taktakishvili (1924-1989) was a Georgian composer, conductor, administrator, and artistic director, who played a leading role in the post-war revival of professional Georgian music. He graduated from the Tbilisi Conservatory in 1947, having composed the official anthem of the Georgian Republic while still a student, and before long he became a professor there. Later in his career, he was Chairman of the Georgian Composers’ Union and Minister of Culture of the Georgian Republic.

Taktakishvili, like most Georgian composers of his generation, was heavily influenced by local folk music. Georgian choral polyphony is among the oldest in the Christian world, and its distinctive techniques are seen in his lyrical and expressive style.

In the west, Taktakishvili’s best known work is perhaps his Sonata For Flute And Piano in C major. This 44-page book contains all three movements and comes with a separate Flute score.

Skill Level: Intermediate-Advanced Explain this
Language: English
Catalogue No: GS81826

        Musicroom Reviews

        Having first heard this Sonata on a CD called the Magic of the Russian Flute, I attempted to obtain the music. I have since played this 3 times on recitals and met with enthusiasm each time. It is one of those unusual pieces of music that is very forgiving of tempi. The tempi selected on the CD for the two outer movements were in my opinion a little on the quick side and did not give the music the oportunity to reveal itself. A trait which I find becoming almost the norm among modern players who seem to be obsessed with technique rather than the communication. These movements still made wonderful music when played at a little more relaxed tempi, especially the Allegro Scherzando which tends to bounce along very happily. When the Scherzando changes to 2/4 time I felt this was better when slowed down a little to a Rusian dance in stead of the preserving the original tempo and accepting the dotted crotchet as a crotchet. The slow middle movement changes it's character continuously from quite introspective moments to somewhat more strident chord structures but at no time does it reach the realms of Avante Garde, and is always listenable. This is a work which I would highly recommend to any flautist who wishes to diversify from the normal repertoire. It is technically demanding without being only for the virtuoso.
        Michael Furmedge - (Southport UK)

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