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- Submitted: Aug 22 2011 11:09 AM
- Last Updated: Aug 22 2011 11:09 AM
- File Size: 35.74MB
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- Genre: Contemporary
- Sub Genre: Neo-classicism
- Form: Sonata
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Sonata in E minor
11 Votes
2
I'm reuploading this to the new site - and I hope with the new site comes new comments! 
Programme notes:
I. Fantasy (11' 50")
The first movement is titled "Fantasy", as it consists of almost continuous development of music (as opposed to, say, the sonata form). The introductory bars set the motive for the rest of the movement, i.e : a head (B-E) and a tail constructed via Fibonacci's sequence. It is worth noting that I use several interpretations of this sequence, for example:
- as a sequence with 0 as silence and 1 as the initial note;
- as intervals defined from the sequence (i.e 0=unison, 1=minor 2nd, etc.);
- defining the time intervals between the occurrences of motives;
- defining the key progression of the movement (and, indeed, the whole piece);
- the texture (here we assume 0 is some undefined silence prior to the piece).
The numbers listed in the score will guide you in your analysis.
As a general guide to listening, you should conceive the piece as consisting of an introductory section (bars 0 to 6), a strict episode of development that segues to a climatic passage (6 to 48), two episodes of textural development (49-170 and 170-302), a cadence (302-331) and a clipped "retrogradation" of the initial "exposition" (331-345). Analysis of the movement will reveal the reasoning behind these groupings, but such discussions are beyond the scope of these notes.
II. Scherzo and Trio (4'38")
This movement is relatively small in scope as compared to the two colossal movements flanking it. My intention is to bridge the first and third movements with this capricious but darkly energetic interlude. Structurally speaking it consists of three sections, namely A1A2A1B1B2B1A2A1.
The opening section starts off with ambiguous rhythm, and even more ambiguous bitonality. Upon close inspection, we see that there are chiefly three themes in the A section : ms 1, ms 49 and 73, and these are arranged so as to hint of the ternary form. A waltz-like dance then forms the central section, hesitant at first but fluid in the latter part : again, the B section has the general ternary appearance. The initial themes are then recalled again in the recapitulation, and the piece is finally squared off by a cadenza leading to an abrupt "confirmation" of the true tonality only heard fleetingly previously in ms 19, 45.
III. Theme and Variations (15' 31")
The slow movement of the piece. Here the greater architectural outline of this movement is not so obvious: there are various methods of grouping the variations together, and it is possible to interpret the recurring elements as having different periods - much like waves. Two clear examples would be the alternation between slow and fast variations, and between those in the major and those in the minor. Other less discernible elements include the relative difference of the metric phrasings between those of the theme and the variation, and the alternation between homophony and polyphony.
Some points to note:
- Variations 1, 3 and 6 follows the original structure closely, whereas variations 2, 4 and 5 deviate from it.
- Variation 4 is a passacaglia based on the main motive of the theme. Variation 5 is a double fugue with subjects from the first and second motive of the theme, respectively.
- Variation 6 consists of a "dimunition" episode (actually, the tempo gets faster) and an augmentation episode of the theme, followed by a recap of the theme and a witty restatement of the introduction.
- Variation 2 has some interesting voice leadings which are not so obvious from the score or the music.
IV. Prelude and March (5' 25")
The structure of this movement is best described as two rondos within a binary structure. As the title of this movement suggests, the movement consists of two contrasting sections : an introspective, moderately-paced prelude, and a quick-paced, rather humourous march. Both sections are retrospective and relate to the previous movements in ways that are at times obvious, and at others subtle.
Prelude
Basically the structure is similar to a rondo. There are three sections : a lyrical passage whose motive echoes the ending of the third movement, a development of the said motive, and a brisk three-part symphony (invention, if you please). These are then elaborated on. The second reappearance of the contrapuntal section features an "augmentation" and a "dimuntion" of the subject, where he phrase lengths are adjusted such, and the length of the notes are not necessarily changed per se.
March
This section is in sonata-rondo form, with clear distinctions between the exposition, development and recapitulation. The style of this piece is generally closer to that of my earliest works. Interestingly the bars 85, 109 and 141 are in F minor, E flat minor and E minor respectively. The piece ends rather sarcastically.
Programme notes:
I. Fantasy (11' 50")
The first movement is titled "Fantasy", as it consists of almost continuous development of music (as opposed to, say, the sonata form). The introductory bars set the motive for the rest of the movement, i.e : a head (B-E) and a tail constructed via Fibonacci's sequence. It is worth noting that I use several interpretations of this sequence, for example:
- as a sequence with 0 as silence and 1 as the initial note;
- as intervals defined from the sequence (i.e 0=unison, 1=minor 2nd, etc.);
- defining the time intervals between the occurrences of motives;
- defining the key progression of the movement (and, indeed, the whole piece);
- the texture (here we assume 0 is some undefined silence prior to the piece).
The numbers listed in the score will guide you in your analysis.
As a general guide to listening, you should conceive the piece as consisting of an introductory section (bars 0 to 6), a strict episode of development that segues to a climatic passage (6 to 48), two episodes of textural development (49-170 and 170-302), a cadence (302-331) and a clipped "retrogradation" of the initial "exposition" (331-345). Analysis of the movement will reveal the reasoning behind these groupings, but such discussions are beyond the scope of these notes.
II. Scherzo and Trio (4'38")
This movement is relatively small in scope as compared to the two colossal movements flanking it. My intention is to bridge the first and third movements with this capricious but darkly energetic interlude. Structurally speaking it consists of three sections, namely A1A2A1B1B2B1A2A1.
The opening section starts off with ambiguous rhythm, and even more ambiguous bitonality. Upon close inspection, we see that there are chiefly three themes in the A section : ms 1, ms 49 and 73, and these are arranged so as to hint of the ternary form. A waltz-like dance then forms the central section, hesitant at first but fluid in the latter part : again, the B section has the general ternary appearance. The initial themes are then recalled again in the recapitulation, and the piece is finally squared off by a cadenza leading to an abrupt "confirmation" of the true tonality only heard fleetingly previously in ms 19, 45.
III. Theme and Variations (15' 31")
The slow movement of the piece. Here the greater architectural outline of this movement is not so obvious: there are various methods of grouping the variations together, and it is possible to interpret the recurring elements as having different periods - much like waves. Two clear examples would be the alternation between slow and fast variations, and between those in the major and those in the minor. Other less discernible elements include the relative difference of the metric phrasings between those of the theme and the variation, and the alternation between homophony and polyphony.
Some points to note:
- Variations 1, 3 and 6 follows the original structure closely, whereas variations 2, 4 and 5 deviate from it.
- Variation 4 is a passacaglia based on the main motive of the theme. Variation 5 is a double fugue with subjects from the first and second motive of the theme, respectively.
- Variation 6 consists of a "dimunition" episode (actually, the tempo gets faster) and an augmentation episode of the theme, followed by a recap of the theme and a witty restatement of the introduction.
- Variation 2 has some interesting voice leadings which are not so obvious from the score or the music.
IV. Prelude and March (5' 25")
The structure of this movement is best described as two rondos within a binary structure. As the title of this movement suggests, the movement consists of two contrasting sections : an introspective, moderately-paced prelude, and a quick-paced, rather humourous march. Both sections are retrospective and relate to the previous movements in ways that are at times obvious, and at others subtle.
Prelude
Basically the structure is similar to a rondo. There are three sections : a lyrical passage whose motive echoes the ending of the third movement, a development of the said motive, and a brisk three-part symphony (invention, if you please). These are then elaborated on. The second reappearance of the contrapuntal section features an "augmentation" and a "dimuntion" of the subject, where he phrase lengths are adjusted such, and the length of the notes are not necessarily changed per se.
March
This section is in sonata-rondo form, with clear distinctions between the exposition, development and recapitulation. The style of this piece is generally closer to that of my earliest works. Interestingly the bars 85, 109 and 141 are in F minor, E flat minor and E minor respectively. The piece ends rather sarcastically.
Oh, but I forgot -- with my praise comes a warning I think I should give you.
If I were you, I would really work and focus on broadening your talent. Right now, I believe you are an exceptionally talented neo-classical/Romantic composer. However, there is so much more that you can do -- there are so many different types of genius. I would suggest you go much, much simpler in some of your pieces of music, at least -- learn to really appreciate the simple things, and you will create profound things in a different way entirely from what you have currently been putting all your energy into.
If I were you, I would really work and focus on broadening your talent. Right now, I believe you are an exceptionally talented neo-classical/Romantic composer. However, there is so much more that you can do -- there are so many different types of genius. I would suggest you go much, much simpler in some of your pieces of music, at least -- learn to really appreciate the simple things, and you will create profound things in a different way entirely from what you have currently been putting all your energy into.
I didn't listen to it all, but some comments:
This is pretty headache-inducing. You tend to have constant development rather than having clear cut-sections. And 40 minutes. I can't say this is a bad thing, but ouch my brain.
The third movement didn't sound very much like a slow one. You tend not to have real slow movements. I've mentioned before that I didn't like the very end of this work.
I think I enjoy your music more in simple, small chunks. The preludes of your preludes and fugues are my favorites.
This is pretty headache-inducing. You tend to have constant development rather than having clear cut-sections. And 40 minutes. I can't say this is a bad thing, but ouch my brain.
The third movement didn't sound very much like a slow one. You tend not to have real slow movements. I've mentioned before that I didn't like the very end of this work.
I think I enjoy your music more in simple, small chunks. The preludes of your preludes and fugues are my favorites.
This is a very interesting work but I'd just say that you may want to consider taking some of the ideas out of it and use them instead to fuel your next sixty-eight sonatas. But having said that let me also say that I like the piece even though I'm not sure if my ears are still going to be working in the morning. My plan is to give them a quick test after I wake up, probably starting with something from the Anna Magdalena notebooks. If that pans out then I'll likely come back to YC for another go.
BTW, by "another go" in my above comment I meant more hearings of your music...as well as other YCers. Because you do have some pretty hefty compositional chops. But like SergeOfArniVillage said, you may want to try going smaller for a while. How about a suite of short pieces for piano a la Bach's so-called French or English? But of course in your style, and not anything too Baroque-y?
I kind of with the 4th movement had ended on a more clear perfect cadence, rather then the very muddy deep E Minor chord you do end it with.
Somewhere around the 14:15 minute mark in the posted recording, a passage begins that is very reminiscent of a similar one from Beethoven's Opus 109, which of course is in the key of E major and thus related to Bucket's sonata's E minor. And the final chord of Bucket's piece closely echos in form the one that ends the first movement of Opus 109, both of these chords being in closed position, although Beethoven doubles his E major at the octave and has these six notes played at a much lower level of volume than the triple forte of its three note E minor cousin.
So in view of these facts, I ask you, is JohnBucket's Sonata in E Minor perchance meant to be something of a look back across the ages to one of it's antecedents, if not, perhaps, one of its ancestors? Both of these works are - say what else you will about them - wonderful flights of fantasy.
PS: For a look back across the ages of a related sort, check this out:
http://imslp.info/fi...1487-Op.109.pdf
A first edition of Opus 109! I presume this copy is similar to one that the master himself would have seen. Do you feel it's mystical content as you gaze upon your brower's rendition of the score's PDF form?
I didn't listen to it all, but some comments: This is pretty headache-inducing. You tend to have constant development rather than having clear cut-sections. And 40 minutes. I can't say this is a bad thing, but ouch my brain. The third movement didn't sound very much like a slow one. You tend not to have real slow movements. I've mentioned before that I didn't like the very end of this work. I think I enjoy your music more in simple, small chunks. The preludes of your preludes and fugues are my favorites.
dynamic ,太大constrast,第一樂章很豐富,之後太油利,我記不了這音樂, 太油利了。
I am in the 3rd movement, and in the first i was already feeling the natural progression that the music's logic dictates. The music , however dissonant, moves in clear direction. This music is inspiring on a personal level, your skill and innovation are wonderful.
I appreciate the very rare and minute western melodies/harmonies that contrast with the dissonance that dominates and defines the work. I am already looking forward to hearing this work again, and I am still listening to the 3rd movement. I must say, the music is a little demoralizing as it dwarfs my own work! However on that same level it is ironically inspiring.
The composing techniques you've used leave much to admire.
I am on the Fourth movement now. this relief is almost undesired! the incredible tension and journey of the harmony you've created... ah, but you are succeeding as i listen.
This is an incredible work. I hope you can find a performer for this. this music does not induce headaches, it is a natural "clairvoyance" into an invisible progression; a grasp of what is there.
the music ends and i sit in silence, which was just as profound when it appears in and in-between movements. headaches?! lmao, the only headache i'm getting is my ear is spooning the silence! i wouldn't say this music is emotional as much as it is motional. my ear is literally stemming! it's been 5 mins since the piece has ended and now i think i can break the silence and come down from your composition.
Like Serge, i too felt the clawing of the piece. The piece has a physical presence, the motion very natural and easy to believe and understand. i think other listeners are used to more tonal music and aren't appreciative of the mind you lend to the work.
great work. wow!
I appreciate the very rare and minute western melodies/harmonies that contrast with the dissonance that dominates and defines the work. I am already looking forward to hearing this work again, and I am still listening to the 3rd movement. I must say, the music is a little demoralizing as it dwarfs my own work! However on that same level it is ironically inspiring.
The composing techniques you've used leave much to admire.
I am on the Fourth movement now. this relief is almost undesired! the incredible tension and journey of the harmony you've created... ah, but you are succeeding as i listen.
This is an incredible work. I hope you can find a performer for this. this music does not induce headaches, it is a natural "clairvoyance" into an invisible progression; a grasp of what is there.
the music ends and i sit in silence, which was just as profound when it appears in and in-between movements. headaches?! lmao, the only headache i'm getting is my ear is spooning the silence! i wouldn't say this music is emotional as much as it is motional. my ear is literally stemming! it's been 5 mins since the piece has ended and now i think i can break the silence and come down from your composition.
Like Serge, i too felt the clawing of the piece. The piece has a physical presence, the motion very natural and easy to believe and understand. i think other listeners are used to more tonal music and aren't appreciative of the mind you lend to the work.
great work. wow!
What can I say that hasn't been said yet? This is a very, very good composition. I wish I can write a sonata for the piano at this level in a near future.
Bravo
Bravo
I have the feeling that you can be a very good drum player(among many other things).
I've listened to this piece a dozen times now on my CD player. Each time I listen, I unearth another level of the genius displayed here ... and I no longer get head-aches =P
Wih any great or grand fanasty composition, comes a great achievement. Although these do not start the sonata cycle, yours (however) indeed stands the mark of time with the rest of the romantic sonatas that have been done before you. The term fantasy loosely means a composition that has no form. I mean it could have a form. But it is a free form composition over all. One of the best things we can do with a fantasy piece is great overtures with them. Aye? Ironically, you did the same thing, well not exactly with your first movemt that P.I Tychashcy did with his fantasy-overture for Romeo and Juilet. *winks*
The harmonic laugange is no barrier to you. You have inside your first movement grand sweeps of diatonic and chromatic haromonies. Everything has been touched. Your thematic laugange also is excellent. It is also sweeping.
More about form: well done.
I enjoyed every moment!
The harmonic laugange is no barrier to you. You have inside your first movement grand sweeps of diatonic and chromatic haromonies. Everything has been touched. Your thematic laugange also is excellent. It is also sweeping.
More about form: well done.
I enjoyed every moment!
Your lengthy work is quite the teaser, very Anti-romantic as if you purposely incorporated the absence of any feeling whatsoever but instead this callous mass of enigmatic proportions. It's quite effective in it's own pale blight & seemingly though uncertain premeditated continuum.
very Anti-romantic as if you purposely incorporated the absence of any feeling whatsoever but instead this callous mass of enigmatic proportions
The second movement reminds me of a Beethoven Scherzo, I can't remember which one though...
As a listener - I must admit I like the 'neo classical bits' more than the atonal sounding stuff ... and I felt that overall it was a little too protracted ...the complexity of the piece in terms of structure overshadowed some really beautiful moments - for example movement III 1:20 - the b part of the theme ...its a great idea - (imo) something worth exploring as an entire movement - it just seems to me in general that this piece demonstrates your skill and talent in playing - and writing, and applying an advanced knowledge of classical techniques, more than it does in "composing" if you know what I mean? In other words it's a little too over-engineered.
As a listener - I must admit I like the 'neo classical bits' more than the atonal sounding stuff ... and I felt that overall it was a little too protracted ...the complexity of the piece in terms of structure overshadowed some really beautiful moments - for example movement III 1:20 - the b part of the theme ...its a great idea - (imo) something worth exploring as an entire movement - it just seems to me in general that this piece demonstrates your skill and talent in playing - and writing, and applying an advanced knowledge of classical techniques, more than it does in "composing" if you know what I mean? In other words it's a little too over-engineered.
op. 2, no. 2The second movement reminds me of a Beethoven Scherzo, I can't remember which one though...
i find this piece structurally incoherent, texturally overwritten & full of harmonic progressions that lack any sense of direction. The themes are largely unmemorable & their development is often extremely unsubtle, to the point of annoyance. The best moments seem to be lifted wholesale from other compositions and the whole sonata is a stylistic patchwork full of pretentious mathematical references and elaborate compositional games you are playing with yourself for unknown reasons. Ultimately, it doesn't really arrive anywhere. i also listened to the whole thing and, once it was over, looked up all of the other pieces you posted to this site and listened to them, too. So there's that.
tl;dr looks promising, keep it up
structurally incoherent
no
texturally overwritten
at times
full of harmonic progressions that lack any sense of direction
not really
themes are largely unmemorable
don't care
their development is often extremely unsubtle
true
the best moments seem to be lifted wholesale from other compositions
there are two sections in the third movement which you'd possibly mean, and the first was not intentional. there's also a somewhat obscure quotation in the first half of last movement, and one more thematic reference apart from that one from the third movement of op. 2, no. 2.
that is all.
a stylistic patchwork
no
full of pretentious mathematical references
unfortunately
and elaborate compositional games
actually no
Ultimately, it doesn't really arrive anywhere
there's a build-up of tension and a subsequent movement towards a resolution
sounds good enough for me
I very much liked this overall piece. The highly used chromaticism kept me interested in hearing much more. Your themes are well-written and definitely encompass deep emotion and plainly cool uses of music theory. Good job.
This is a garngantchewon creation, so i cant comment on everything. I noticed you cheated a little in translating the fibonotchi sequence in to notes with diminished octaves and stuff, which kinda defeats the purpose. if your doing it mod 12 anyway why not go straigt to pitch class numbers
Blood coming from your ears is normal.
Meh. You've got skill, there's no denying, but I just don't really enjoy music unless it has a good theme, and interesting variations built around that. This piece just feels kind of scattered to me.
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I think it is one of the most bitter, cynical, and inspired things I've heard so far. This is a good thing. I hate Jason Miraz
Of course, your 4th variation in your 3rd movement remains the greatest moment in the entire set-up, and the gigantic amount of music leading up to this climax in the 2/3rds-ish point sort of lends itself to the feeling of the piece sort of scratching and clawing its way into something worthwhile, and trying so hard to find it... and finally doing so. The "resulting" 4th movement is, thus, rather pitiful, in a way...
I kind of with the 4th movement had ended on a more clear perfect cadence, rather then the very muddy deep E Minor chord you do end it with. I suppose it fits with the overall mood and structure of the piece and everything, but it felt to me ... kind of like you went too far to prove a point. It's a small thing, but something to think about ... ?
This is the music the Phantom of the Night would really write xD Thank you for sharing, I enjoyed listening to it all again ... although now I'm exhausted, and kind of have a headache