Update Title: 42B5E5A1-7740-434D-9392-3562E38DCBA7

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Commissioned by Laura Vincent (flute) and Aaron Caplan (guitar), this composition is designed to exhibit the individual characteristics of each instrument as well as to explore the possibilities inherent in this delightful instrumental combination. The first performance of the Samba was given by the duo in January 2003 in Worcester, Massachusetts as part of the Royal Academy Professional Artists+ Series. The first performance of the entire "Suite" was given by the Ciraldo Duo in November 2003 in Boston, Massachusetts as part of the Boston Classical Guitar Society Annual Festival which was held at Northeastern University.

I. Samba: This movement is in ABCA form. After a brief opening section, the flute introduces the A theme. The flute then continues to elaborate and develop the melodic material while the guitar provides rhythmic and harmonic support. After maintaining an accompaniment role for most of the A section, the guitar plays a short solo transition and then introduces the B section. This central part of the piece is cast in 8/8 meter, and the tempo is slower. The flute once again handles the thematic material. However, the guitar now begins to play in a more linear fashion. Its counter lines often function as an obbligato. In other passages, the focus of the counterpoint is on imitation of the flute lines. The intensity and volume of the B section increases as the flute plays runs which move into its highest register. The guitar+s powerful rasgueado (flourish-like) six-note chords serve to punctuate these flute lines which provide the transition to the next section. The C section, which is a guitar cadenza, incorporates linear and chordal material as well as harmonics. Just before the end of the cadenza, the transition material (which the guitar played just before the beginning of the B section) returns as a palindrome. After the powerful conclusion of the cadenza, the flute reenters to usher in the return of the A section. A short fiery coda concludes the movement.

II. Pas de deux: Originally begun as a slow blues in a minor key, this movement evolved into a romantic interchange between the two instruments. The ABCBA form features a rubato introduction which returns to close the movement. The B material of the ternary middle section is set in 8/8 meter with a focus on imitative writing. Guitar harmonics are the identifying feature of the C section in which the flute offers variations of the thematic material of B.

III. Swing: Set in 12/8 meter with a direction to play with a feeling of swing, the jazz influence on this movement is clearly evident from its beginning. The two instrumental partners present syncopated jazzy melodic lines played in octaves. These are offset by short chordal passages of altered dominant ninth sonorities offered by the guitar.  Following this A section, the flute, playing alone, elaborates and varies the motive, often coloring it with the technique of flutter tongue. The guitar interrupts the linear passages with chordal punctuation. As this B section closes, the guitar provides linear answers to the flute+s statements. Stride piano is the influence for the guitar+s accompaniment material in the C section. The flute continues its melodic role with the pitches being sung and played simultaneously. After a brief transition, the A section returns in a varied form and then proceeds to the coda. This concluding portion of the movement alternates passages from the A, B and C sections as the movement swings to a close. --Edward P. Mascari

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