Biography[ edit ] Otar V. Taktakishvili was born and grew up in Tbilisi , Georgia, in a musical family. He was raised by a single mother, noblewoman Elisabed Mikhailis asuli Taktakishvili, who worked as an artist at the Georgian Opera House. He was also strongly influenced by his uncle Shalva Taktakishvili, who was a composer and a professor at the Tbilisi Conservatory. From a young age, the composer showed great musical promise, and as a child was able to correctly guess notes played on the piano while blindfolded.
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The Conservatory later appointed him professor of choral literature and director of the choir in , a mere two years after his graduation. In later years, he also taught composition and served as rector. Outside of the Conservatory, he served as rehearsal pianist, conductor, and eventually artistic director of the State Choral Kapella of Georgia. These composers were aware of Western techniques, but they remained relatively isolated. Taktakishvili even went as far as to reprimand composers using the tone system.
This influence is immediately apparent in the Flute Sonata. It is unclear if Taktakishvili drew these themes from specific Georgian folk songs or if they are simply reminiscent of this particular style. The melodic and rhythmic devices demonstrated in this video are the hallmarks of the Flute Sonata.
The diatonic first theme of movement one is in C major and moves in primarily step-wise motion. The range is technically a ninth from G5 to A6, but if we disregard the extraneous flourish of pick-up eighth notes in m.
The repetition of rhythm and melodic content in the consequent phrase emphasizes the simple duple meter. Taktakishvili, Otar. Sonata for Flute and Piano: mvt. The second theme begins with similar melodic characteristics including diatonic scalular motion and restricted tessitura, but this material taken on a scherzo-like quality. The consequent phrase deviates from this model by introducing a larger range and chromatic alteration.
The range of the first phrase is E4 to E5. From m. This passage is perhaps the most tonally ambiguous of the entire piece. The third movement opens with a dance-like theme in compound time.
The C Major melody is mainly diatonic but contains chromatic passing tones and escape tones. The range is confined to one octave from C5 to C6 in the first statement of the theme but expands to two octaves C5 to C7 when the material is repeated. Another interesting similarity between the video above and the third movement of this piece is the simultaneous use of compound and simple meter.
The song in the video begins in a compound meter and continues as such through the first statement of the vocal melody. At the second entrance of the voice, the vocal and bass lines switch to a simple meter while the string and percussion accompaniment continues in compound time.
The melody ranges from A4 to B5 and moves in primarily step-wise motion. The piano has a pedal tone in the bass with an osstinato figure in the right hand. The only chromatic alteration in the melodic line that deviates from A Aeolian is the F that sets up a half cadence on E at the end of the antecedent phrase.
The repeated rhythms in both the melodic an accompanying content emphasize the simple duple rhythm, and the grace notes suggest a dance-like feel. There is a severe lack of English scholarship on this composer. Though the Flute Sonata is a staple of the 20th century repertoire and is frequently performed in the United States, little is known about the composition. Any further information on this subject would be greatly appreciated! Music and Musical Life in Soviet Russia New York: W.
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