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More than the undeniable analogies with Poulenc, it is the neoclassical Stravinsky that I thought of when creating this "Chirping Sonata". Music written over pre-existing music could well be defined as this current anachronism repeated a hundred years later on Stravinskian models. So it was composed in the three canonical movements, Allegro-Adagio-Allegro. I. Movement: The singing Serino. The song of the Canaries (otherwise called "Serini") that my grandmother kept in the house when I was a child is an indelible memory: the high notes with the acciaccaturas skipping a seventh, and the repeated warbles, would like to give the idea of this during the first movement ( practically an “Allegro di sonata” with Coda). II. Movement: the Lark in love. The central Adagio has the identical function as the similar movements of the baroque sonatas. The Lark of the title is evidently found in the "smoothies" and "key vibratos" of the flute, as well as in the short "warble" that opens the "Meno Adagio" in ternary time (3/4). III. Movement: The mirrored Blackbird. The final title does not allude to the animal (although present in the repeated "shakes" and interval jumps), but to the "mirror" writing in which the musical figures of the two instruments are constructed. It cost me some effort to rigorously design the different sections of this sort of Rondo. But I think it was worth it. The Sonata could only be dedicated to "the magical flute" of Roberto Fabbriciani. Perugia, November 2023