Born in Saskatchewan, few outside of Canada’s shores are likely to have heard the name of composer Robert Fleming (1921-1976). One of the nation’s preeminent composers of the 20^th century, he spent most of his professional career with Ottawa’s National Film Board and teaching at Carleton University before his life was tragically cut short at the age of 55. Despite his short lifetime, however, he managed to compose around 750 works, varying from long-form orchestral pieces to shorter piano works.

Released as part of Banks Music Publications’ new initiative to reprint old Oxford University Press scores, Fleming’s Sonatina No. 1 for piano solo represents an important milestone for Canadian classical music. Written in 1942 and dedicated to his teacher Lyell Gustin, it was Fleming’s first major work and won him a coveted scholarship. More importantly, however, this sonatina is considered to be Canada’s first piano sonata, and as such, is one of Fleming’s only piano works to receive multiple recordings and performances (only Elaine Keillor’s remains commercially available).

Those wishing to take on this landmark of Canadian composition will find a challenging two-movement piece that rewards both players and listeners with a sonatina filled with lyrical and emotional depth.

The first movement eases the performer in with a degree of expressive freedom. Opening with rhythmic lyricism and elasticity, it is denoted by repeated triplet crotchet statements. As the movement develops, however, the melody cements the need for a quickening tempo. Resolute statements within the bass are interspersed between clear right-handed runs before the opening movement ends in a furious virtuosic flurry.

The second and climactic movement contrasts with the first in its stricter rhythmic intent. Its almost galloping-like rhythm comes naturally, aided by accents, and echoes the writing of composing greats such as Bartok. Riding forward, this rhythmic statement is replaced in the developing section, turning into a beautiful singing melody. To be played slower than the opening statement, it is repeated across several pages with increasing complexity before returning to the original melodic statement that builds towards a triumphant climax. All of this is lovingly captured within the printed pages of Banks Music Publications’ release.