20th century
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Solo repertoire
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Reynolds Verne
Aitken, Robert
Amirov, Fikret
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Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
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Sonata for flute and piano
Sonata for flute and piano
Verne Reynolds: Sonata for flute and piano was written in 1962 and dedicated to James Pellerite, the flute professor at Indiana University and former principal flutist of the Philadelphia Orchestra.
Pellerite commissioned the work from Reynolds during a period when he was aggressively seeking to expand the American flute repertoire with works of higher intellectual and technical caliber.
It was premiered by James Pellerite and pianist Walter Robert at Indiana University in 1962.
In 1962, Reynolds had recently joined the faculty of the Eastman School of Music as a Professor of Horn. This was a pivotal year for him as he transitioned from a full-time orchestral performer into a leading academic composer. He sought to provide the flute with a work of symphonic weight and structural complexity that rivaled the contemporary piano or violin repertoire.
In the early 1960s, Reynolds was developing a style that blended expanded tonality with rigorous formal counterpoint. The Sonata is a prime example of his "non-sentimental" approach, favoring architectural integrity over Romantic lyricism.
Kathleen Rountree (piano), 1992, Centaur Records / Naxos
2. Scherzo: Allegro non troppo
Reynolds Verne
Verne Reynolds (1926-2011) was a distinguished American composer, horn virtuoso, and pedagogue.
Born in Lyons, Kansas, Reynolds was raised in the American Midwest during the Great Depression. He began his musical journey as a pianist and violinist before discovering his primary calling, the French horn, at age 13. He pursued his undergraduate studies at the Cincinnati Conservatory of Music and earned a Master of Music degree from the University of Wisconsin in 1951. His education reached an international peak when he studied at the Royal College of Music in London under a Fulbright Grant (1953–1954), where he was exposed to the refined structuralism of British post-war modernism.
His primary composition teachers included Herbert Elwell and Bernard Rogers. Rogers, a legendary orchestration teacher at Eastman, was particularly influential in shaping Reynolds’ meticulous approach to instrumental color and technical precision.
Before dedicating himself fully to academia, Reynolds was a world-class performer. He served as the Principal Horn of the Rochester Philharmonic Orchestra (1959–1968) and was a founding member of the Eastman Brass Quintet. In 1959, he joined the faculty of the Eastman School of Music, eventually becoming a Professor of Horn and a member of the composition department.
Reynolds’ style is characterized by its intellectual discipline and athletic virtuosity. He utilized a highly chromatic, often serial-influenced harmonic language, but his works always remained rooted in the physical capabilities (and challenges) of the performer.
Reynolds’ harmonic language in the 1960s was deeply rooted in Hindemith’s concept of intervallic tension. Like Hindemith, Reynolds used chromaticism as an extension of tonality, not a rejection of it. The "crunchy" but logical dissonances in the 1962 Sonata are a direct descendant of the Hindemith 1936 Flute Sonata.