Sergey Sergeyevich Prokofiev (born 1891 in Sontsovka, Ukraine, Russian Empire, died in 1953 in Moscow, Russia, USSR), son of a pianist mother, began composing at an early age before entering St. Petersburg Conservatory at the age of thirteen where he studied piano, harmony and counterpoint, orchestration, and conducting. Outstanding both as a pianist and as a composer, he graduated in 1914 from the Conservatoire at the age of twenty-three, playing his own first concerto at his graduation. The turmoil of the Revolution drove him from Russia, and in 1918 he travelled to America. After marrying, he established himself in Paris and spent his time composing in between his international tours as a pianist. His works from that time, such as The Love of Three Oranges, The Fiery Angel and The Prodigal Son, show that he was always a natural melodist with a style that could embrace an enormous range of expression. Prokofiev, like many of his compatriots, was part of the ‘brain drain’ and during his time in Paris he had the opportunity to enjoy the French school of flute playing. Having returned to live permanently in his homeland, despite his massive Cantata for the 20th Anniversary of the October Revolution being rejected by a committee of Soviet censors, Prokofiev enjoyed considerable success as a composer of film scores, Stalin’s preferred art-form. During the chaos of World War II and after a heart attack, probably caused by the frustrating work on an operatic version of War and Peace, he composed the romantic ballet Cinderella, after which he worked on a sonata for flute, op 94. With his health failing, Prokofiev died of a brain haemorrhage in Moscow, coincidentally on the same day that the Soviet leader Joseph Stalin died. Prokofiev remains today one of the most performed of the twentieth-century composers.

Sonata for Flute and Piano in D Major, op. 94 was inspired by the French flute player Georges Barrère, and its themes were sketched before the war (World War II). This piece is the composer’s only work for flute, for which he stated that he “wanted to write a sonata in a delicate, fluid, classical style.” The sonata is tonal, though it utilizes chromaticism and does not adhere to common practice harmony. The first movement, Moderato, follows the classical sonata form with two main themes, and the harmonically and structurally active development, before recapitulation of the opening themes. Allegretto scherzando, the second movement, is lively and fast, also offering two themes: one syncopated and staccato and the other a more dance-like theme which breaks up the intensity of the first theme. The third movement, Andante, features lyrical phrases both at the opening and closing of the movement. Portions of this movement represent popular excerpts within the flute repertoire. Andante suggests a slow tempo and while overall that is correct, the middle section with a sextuplet rhythm is very intricate. Exchanging roles of piano and flute (i.e., flute occasionally assuming an accompanying role), make the Andante very complex. The fast and playful fourth movement, Allegro con brio, offers an upbeat finale and playful themes. Taking the listeners back to the safety of recognizable themes, Prokofiev offers an air of optimism. This Sonata deals with political pressure and feelings that Prokofiev had before and after the war. However, it remains a monumental staple in flute repertoire as it explores the entire range of the instrument, with a range of tone colours and musical styles.