20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Flothuis Marius
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Sonata da Camera for Flute and Piano, Op. 17
Sonata da Camera for Flute and Piano, Op. 17
Marius Flothuis: Sonata da Camera for Flute and Piano, Op. 17, or "Chamber sonata," was written in 1943, during World War II in the Netherlands. Even though there's no explicit confirmation that Flothuis chose that specific title "Sonata da Camera" due to circumstances, the context suggests it is highly likely a dark or ironic joke, since Flothuis was known for his sharp intellect and wit. The contrast between a sophisticated title and the grim reality of a concentration camp cell likely appealed to his sense of irony and served as an act of intellectual defiance.
Flothuis composed the majority of this sonata while he was imprisoned by the Nazis in the fall of 1943. Flothuis was politically aware and active in the Dutch resistance. He had previously lost his job at the Concertgebouw Orchestra for refusing to register with the Kultuurkamer, the Nazi-installed regulatory cultural agency. He was arrested on September 18, 1943, and held in the Amstelveenseweg prison until November 26, 1943.
Flothuis later described the unique compositional process: "When I was arrested on 18 September 1943, there were two bars of music on paper of this sonata. During the time I spent in prison on the Amstelveenseweg... I composed the rest of it; not on paper, of course, but in my head."
The piece is dedicated to Henny Gompertz, whom Flothuis described as his "dear friend" and whose birthday the piece was composed for ("per il natale della cara amice mia Henry Gompertz").
The official premiere likely took place after his time in the initial prison. After his transfer to Camp Vught (a concentration camp), he managed to obtain blank sheet music and a grand piano (looted from Jewish owners) in the camp's hospital wing. He was able to write the piece down and perform it shortly afterward with a fellow prisoner, the flutist Everard van Royen (sometimes spelled Everhardus van Royen). The performance within the camp was a remarkable act of resistance and humanity amid the horrors of imprisonment.
Despite the grim circumstances of its creation, Flothuis's music generally maintains a lyrical, intimate, and neoclassical style, often avoiding direct expressions of war-related suffering in favor of "absolute" art.
Flothuis Marius
Marius Flothuis (1914–2001) was a prominent Dutch composer, musicologist, conductor, and critic. His life and career were deeply intertwined with the cultural and political landscape of the Netherlands throughout the 20th century.
Born in Amsterdam, Flothuis began his formal studies in classical languages before pursuing musicology at the University of Amsterdam. He studied composition privately with the Dutch composer Hendrik Andriessen.
Flothuis's life was profoundly affected by the Nazi occupation of the Netherlands during World War II. He worked as an assistant artistic director for the Concertgebouw Orchestra but was dismissed in 1942 for his refusal to join the Nazi-controlled Kultuurkamer (Chamber of Culture). He subsequently joined the Dutch resistance movement. In 1943, he was arrested and interned in the concentration camps of Amstelveenseweg and Vught. During this time, he continued to compose music mentally, including his Sonata da Camera for flute and piano. He miraculously survived the camps and was liberated in 1945.
After the war, Flothuis resumed his distinguished career. He served as the artistic director of the Concertgebouw Orchestra from 1953 to 1955 and later as the artistic director of the Dutch Opera. He was a respected professor of musicology at the University of Utrecht from 1974 to 1983.
Flothuis's compositions are generally written in a neoclassical style, characterized by clarity, balance, and masterful craftsmanship. He was heavily influenced by French composers such as Ravel, Roussel, and Milhaud, as well as the work of Benjamin Britten. His music is lyrical and often features intricate polyphony. While he wrote in many genres, his works for chamber ensemble and solo instruments are particularly celebrated.