SCORING
Piano
Percussion (1 performer)
1 movement:
marimba (range: A[possibly c] - c´´´´)
2 movement: 4 bongos, 2 high tom-toms (single head), 6 temple-blocks,
small bell
3 movement: Glockenspiel, vibraphone,
tubular chimes, marimba, 4 bongos,
2 tom-toms, suspended cymbal (low),
swizzle cymbal, 2 tam-tams (high)
Sonata consists of three movements. Although no traditional forms were applied, the piece has clear connotations to classical sonata archetype - exactly in character of movements and sound images. The first movement reminds quite short overture, very energetic and vivid in its pointillistic texture (leading role belongs to piano part). The second movement is a sort of tender adagio where soft and lyric substance is paradoxically expressed by passages played only on bongos, tom-toms and temple-blocks. Unpitched percussion leads in this strange "adagio", while piano joints it with short and delicate chords thrown about all registers, as if reflecting sound character of percussion part. The final movement appears as a semantic centre of the work, full of tension and virtuoso elements in both parts. It starts with light and soft passages of scherzo character which are gradually transformed into more expressive and dense sections. Development leads to wide climax zone, and the tension releases at the very end of the piece in soft melody of Glockenspiel.
Music language is derived from free atonal technique, although some elements of traditional tonality - exactly triads - are incorporated and play important role in final movement. Rhythmical irregularity, dissonant harmony, hard polyphonic interlacements, pointillism and sonoristic textures are connected here with such traditional - even romantic - qualities as open emotionalism, dramatic tension and lyricism.
Alexander Shchetynsky
© 2000 by Alexander Shchetynsky