Sonata for Flute Solo

Composed in 1989 and dedicated to flutist Gavril Costea, the Sonata for solo flute is structured in two parts: Egloga I and Fuga-Egloga II. The work reflects two stylistic tendencies often found in Sigismund Toduță’s music – the baroque fugue and the pastoral eclogue – inspired by Baroque musical forms and the archaic ethos of Virgil’s poetry. The first part, marked Improvvisando, tranquillo, quotes the opening of Sonata No. 2 for flute and piano, featuring a vocal and meditative character with circular motion and small intervals that gradually expand into the upper register, suggesting a sonic search.

The second part, Fuga, is metrically strict, beginning with the fourth-based motif from the previous section and evolving into a two-voice polyphony with melodic figuration in sextuplets. Funnel-shaped structures emerge through techniques such as syncopation, stretto, and thematic mirroring. After this dense section, the music returns to a freer, quasi-improvisatory flow, leading into Egloga II – a shortened version of the first part – thus concluding the piece in a contemplative atmosphere.