HOW I PLAN TO MAKE A PERFORMING VERSION OF MY THIRD SONATA

 

Oct 4, 2018

 

Today I want to start a template that shows how I can produce a “performable” document for my Sonata 3.

The general idea is that there is conventional piano and pianist (which could be me), and an accompanying computer file from Sibelius, set up to be synchronized (as on an iPad tablet) to play the more difficult passages.

The piano would have to be tuned perfectly to the digital files, which can be challenging in the extreme registers.  (This should sound like a James Shawcross problem, for those familiar with this charismatic teenager’s YouTube videos on pianos on the PianoForever channel.  Maybe he’ll do a video someday on how to do this.)

The coda for the finale (the last three files) will have additional percussion and simulated violin and brass supplement (which could be actual performers).

I have decided to copy the table from my January 28, 2016 posting here and maintain it from this posting from now on.

Legend: p — pianist should be able to play

c: played from computer off Sibelius mpg files

p,c   means file needs to be split with some content played on piano in sync with computer passages

p.c.o  only in coda of finale:  instruments (violins, brass, percussion) added at climax of work

Times for the movements:  18, 10, 12, 16    A complete performance would take slightly under one hour.   This is a large 4-movement work with expanded sonata and other forms.   The home keys are C;  A-flat (scherzo), E-flat minor (slow movement, many modulations), and C (with a second subject group in F#).

Mov-seq

desc

page

file

played

comment

1.1

Moderato,C

1

na

p

Introduction

1.2

Allegro,C

2

Sonata3Mov1E1

p

Exp, first theme

1.3

Scherzando,a

3

SonataMov1E2, E2a,b

p

2nd thm,Ossia avl; take repeat

1.4

adagio

4

SonataMov1D1

p

Development, 1st 2 pages

1.5

Atonal

6

Sonata3M1D2,D2a (ossia)

p

2 pages

1.6

Grave, cadenzas

8

Sonata3M1D3

p

1.7

allegro

10

Sonata3M1D4

p

pick up speed

1.8

Allegro Maestoso,ebmn

14

Sonata3Mov1Ra

p

Recapitulation

1.9

transition

15

Sonata3movR2 ossia

p

1.10

transition cont

16

Sonata3MovR3

p

climax

1.11

2nd theme, C

17

Sonata3MovR4

p

1.12

Coda starts

19

Sonata3Mov1RC

p

Coda starts;

1.13

Tranquillo

20

Sonata3Mov1R5

p

1.14

Coda ends

22

Sonata3Mov1Rc1

p

Movement ends quietly in minor

2.1

Scherzo, Vivace, Ab

23

Sonata3Mov2E1

c

2.2

Scherzo, cont

25

Sonata2Mov2R2

c

2.3

Trio 1, F

31

Sonata3Mov2R3

p

long trio, only a little in Sib;

2.4

Reprise 1

42

to be created

brief

2.5

Trio 2, c# mn

42

to be created

play this w cadenzas

2.6

Reprise

45

to be created

conclusion

3.1

Elegy, eb min

49

Sonata3Mov3I1

p

3.2

lamentation f#

50

Sonata3Mov3E1

p

father’s theme

3.3

8/8 b-f min

51

Sonata3MovE2

p

3.4

lamentation f# in octaves

53

Sonata3MovE3-1a

3.5

Religioso B

55

Sonata3Mov3Religioso

p

chorale

3.6

Grave molto, atonal

57

Son3Mov3D1

p

3.7

accel

61

Sonata3Mov3D2

c,p

much was played manually

3.8

extra material

61f

Sonata3MovD3b

c

Religioso returns in E, comes to a dissonance

3.8a

extra material

61f

Sonata3MovD3prep

c

fugato transition

3.8b

extra material

61f

Sonata3MovD4trans

c

more transition, lamentation and externals

3.9

coda, palindrome

62

Sonata3Mov3Coda

p

4.1

Andante 2/4; Allegretto 6/8

63

MSonata3FinaleS1

c

4.2

Andante

65

MSonata3Finale1 – 2, after playing at 65A

p,c

4.3

Mahler 5 theme

67

Sonata3Mov4E2a

c

4.4

intermed develop

67f

Sonata3Mov4E3a

c

4.4a

external material as transition

67f

Sonata3Mov4E4

c

4.5

F#Maj hymn

68

HoldApplauseTheme (2nd main subject)

p

4.6a

fugato

68

Sonata3Mov4E5a

c

I probably should call this D5a

4.6a

Devel 1 with external minuet

68

Sonata3Mov4E5b

c

I probably should call this D5b

4.7

Dev 2 with external songs

69

Sonata3Mov4E5b

c

D5b

4.8

Cadenza, external materials

70

Sonata3Mov4cad

c (all computer, extremely difficult)

ends in dissonance

4.10

Coda 1 Stanzas go to F Min

72

Su702CfromF#c 17 measures; chg to Sonata3Nov4Coda1c,

p,c,o

Applause hymn “big tune” presented fugally, sudden diminuendo after key modultations

4.11

Coda 1 Stanzas go to F Min

72

 Coada1suf

p,c,o

“Apparition”  (Part) theme, builds from ppp to FFF for final “martial” climax

4.12

Coda 2 Modulate to C, stay in C

72

Sonata3Mov4Coda2, change to Codafin

p,c,o (computer plays special “Ring” arpeggio work that would be unplayable by a human)

quotes of Bruckner 7, 8; Shostakovich 7; Mahler 5; Liszt Grandioso from B Minor, Bax,  as well as my own toccata themes, played over repeating arpeggios

end FFF

 

The “big tune” is supposed to be the Applause Theme introduced in F#.  It modulates a lot within itself and it is hard to complete in a conventional hymn stanza structure.  (It does have some commonality with the Chopin A Major Polonaise Militaire and with a motive in the finale of Bax’s Symphony 5.)  So for the final peroration I recapitulate it fugally.  Then I get back to C major for a very martial 4.12 that tries to recapitulate all of western civilization in 60 seconds. I was inspired by the completions of Bruckner’s Ninth and the several codas (two of them in particular), but it winds up sounding more like Shostakovich, almost like the Leningrad.

(Posted: Thursday, October 4, 2018 at 10 AM).

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3 THOUGHTS ON “HOW I PLAN TO MAKE A PERFORMING VERSION OF MY THIRD SONATA”

  1. Pingback 
  2. jboushka@aol.com

More ideas:
Introduce the Bax Sym 5 idea and Scriabin in 3.8b, hint at opening of Bruckner 8

In 4.11 introduce Bax wondrous cross and final modulation
in 4.12 Bruckner 7 them repeated 2 twice 2 + 4 + 8 with augmentation + hallelujah idea Bruck 9
add Mahler 5 fugato (2)
Add Fugato to Mahler 5 (4)
Readd opening of Bruckner 8/Shost 8 + wondrous
1 measure Liszt Grandioso + wondrous
Last measure Bax/Wondrous in FFF with final glissando

  1. jboushka@aol.com

Introduce chamber instruments (violin, cello, trumpet) in section 3.8 of slow movement when religioso theme is developed (from E Major). Also hint at the opening theme of Bruckner 8/Shostakovich Leningrad The reintroduce these chamber instruments in 4.10 Piano solo in transition (4.11, mention the Bruckner 8 again), then Violin, cello, trumpet and drums (percussion) for final coda. This will be the only piano sonata that gets “help” from other instruments in later movements. (No words to sing, but it’s close. Schoenberg used a singer for the last 2 movements of String Qr #2)

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