Sonata in E minor

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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.