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So this christmas I've been working in this small piano sonata that is based on the theme from @Ivan1791

All movements are directly or partially conected to the theme.

The first movement is in sonata form and has the theme as subject A.

The second movement has the theme as a baseline (4 times slower).

The third has little motifs from the theme in the scherzo, and in the trio there is a fugue wich subject is based on the theme.

Finally the finale is in theme and variations based on the theme.

I hope you all enjoy and any feedback is welcomed!🙂

Edited by Hendrik Meniere
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  • 1 month later...


First movement: very energetic, exciting and assured. I was thinking at some point, however, "dotted eighth notes" as I felt it could use a bit of variety. Maybe that is not at all what you intended but the lovely writing in the second movement shows that you could pretty much do anything you want in your works. The passage beginning at Fuga a Tempo Primo, I didnt study it in detail but it seems to be a perfect canon at the octave? Where/how did you learn that technique? Fux and other masters of that era for me. I went through a period where I would pretty only work on perfect canons at various intervals. That is kind of weird but fascinating thing to do, isnt it, ensure that the beginning melodic line moves in such a way that its companions coming up behind dont step in something (an undesired dissonance). I was writing a canon once in four voices and got all proud of myself because I thought I had all the voices properly arranged but after I had finished I realized that the fourth voice had entered a measure early. It sounded kind of cool so I left it as it was. This of course meant that that sequence of notes did not, after all, get the chance to exist in that order which a perfect canon would require whereas any corrections to fix things up would have deprived us experiencing in the way they ultimately ended up, not necessarily a bad thing or a good one but merely just a thing, that thing that they came to be. In the end our notes need to accept their fates in the harmonic, rhythmic and melodic schemes in which they find themselves but sometimes it is hard to decipher their ultimat value as a musical entity, in others words, I wonder if this piece is any good? To sumarize all this - if even such a summary is possible, I enjoyed your sonata very much and will seek out others of yours here. I find it difficult to be objective about my own pieces; could you take a listen to the below and let me know what you think? Music and score both available.

http://www.youngcomposers.com/t41774/fugue-becomes-three-part-invention  

Edited by Mabry
bad mouse click original version submitted before completely done
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