Sonata for
Piano
The Sonata for Piano was written
and dedicated to the Polish-born pianist Adam Wodnicki.
The work is an exploration of weight and tension of
individual intervals, specifically the interval of a
4th and 5th. These close harmonic intervals serve as
unifying factors throughout all 4 movements of the Sonata.
The performer will find classically formal structure
including cadences which are still quite goal oriented,
yet the harmonic structure is presented in a free and
at times “atonal” framework.
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The first movement
is presented in compound ternary form. This
form allows for more diverse contrasting moods
than traditional ternary form . Clear and definite
statements of contrasting sections serve to
make this movement classically oriented in it’s
large sectional structure.
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The
2nd section is presented in a clearly defined
ternary form. The opening theme is developed
in a mono-thematic character that would be commonly
found in fugal repetitions. The opening theme
has a simple and narrow rhythmic compass that
generates larger scale statements later in the
movement. The contrasting middle section should
be quite controlled and expressive elements
should be emphasized when playing the counterpoint
between both hands.
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This is the most
rhythmically developed movement of the entire
Sonata. A percussive approach at times with
an emphasis on strict tempo is needed to provide
unity throughout the movement. The coda serves
as a high point both rhythmically and dynamically
and also defines a clear change in texture which
serves to introduce the fugue presented in the
last movement.
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Subject entries
are clearly defined throughout this movement.
Episodes serve as the tool for thematic development
and are stated briefly or as a transitional
element between restatements of fugal themes.
Free manipulation of the subject material of
episodes also provides tonal movement and direction
throughout the fugue. Traditional applications
of the fugal structure include fragmentation
and both diminished and augmented sequences
of the original fugal statement.
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Harmonic movement becomes quite stagnant
during this section. An emphasis of creating an atmosphere
which is quite inconclusive is the direction the performer
should be focused on. The harmonic structure is built
on the rotation of intervals of 4ths and 5ths to add
to the eeriness of character.
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This section contrasts
wide jumps between notes and an underlying songful quality
using stepwise motion. The contrasts are striking ,
yet compliment each other with a common rhythmic jauntiness.
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This expressive theme is
expansive as far as range of tonalities. Harmonic centers
are quite simply based on tonic and dominant tonal centers.
(F-C#). This allows the melody an opportunity to explore
and expand until it’s resolution which is found in the
last measure.
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This example shows a clear
interruption of harmonic texture. Decisive breaks within
the form of the movement help to give cadence-like episodes
that extend and also define large-scale sections of
the movement.
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This dramatic ending section serves
as a final statement of the rhythmically oriented thematic
material that has been presented earlier in the movement.
This coda defines a clearly defined extension through
repetition, Although traditional harmonic elements are
present, the tonal center is not a priority, rhythmic
density is emphasized here to help create a percussive-like
highpoint to the movement.
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The last measure of this
example is an example of “stretto” or the overlapping
of subject entries common to fugal form.. Rhythmically,
the statements are quite similar, but the overlapping
effect adds an element of tension leading to the final
cadence of the fugue.
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Please contact
the composer for performance scores.
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