TRADITIONAL TAKTAKISHVILI: REDISCOVERING THE SONATA FOR FLUTE AND PIANO
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Otar Taktakishvili (1924-1989) was a Georgian composer who worked behind the Iron Curtain. His socialist-realist compositions and political distinctions have earned him a place of renown in Georgia’s musical history. Taktakishvili’s work is not well known outside of Georgia except for the Sonata for Flute and Piano, frequently performed by American flutists. Despite the fact that the piece has been performed countless times, there is little literature that dissects it and seeks to understand the sonata. While there are papers, articles, and sections of books that delve into biographical information about Taktakishvili and his overall compositional style, there is even less literature about the analysis of the Sonata for Flute and Piano. I have combined the existing biographical research and information about Taktakishvili’s compositional style with an in-depth analysis of the entire sonata to illustrate the relationship between the aforementioned literature. My research serves as a starting point into Taktakishvili’s compositional style and helps demonstrate that he conforms to the traits of Socialist-Realism. I have accomplished this through extensive analysis of the harmonic idioms and organizational forms of the Sonata for Flute and Piano as well as compared the formal models utilized in traditional forms common to the Classical period. I also give appropriate historical context to place this piece within Taktakishvili’s compositional output and to demonstrate the external factors that influenced the composition of the sonata.