Sonata in f# minor
Program Notes:
This Sonata was written during the long 9 months I waited for my brother to return from his deployment to the North-Eastern mountain provinces of Afghanistan (the most dangerous region at the height of the war). {The title is borrowed from Beethoven but that’s where the comparisons cease. This piece was driven entirely by my own sense of emotional logic and creative urgency.} As I suffered my brother’s absence I felt the need to document the experience in the same way a classic Hollywood movie romanticizes everything; I kept imagining a scene from the 1940s (WWII) and I imagined a story told in three short chapters. The three movements of this composition each describe a scene: Farewell, Absence and Return. {I had to compose the 3rd movement based on my own hopeful imagination of things ending well for my brother; thankfully that was accurate.}
Each movement can be summarized briefly:
1) “Farewell” describes two people meeting at a train station to say an emotional goodbye.
2 ) “Absence” portrays sadness, repressed anxiety and loneliness.
3) “Return” offers a home-coming parade as the setting for a happy reunion!
Each movement carries 2 themes of its own, and then the themes of each successive movement layer old and new themes upon one-another.
Every theme in this Sonata has an emotional drive and every phrase is designed to contribute to the story in a way that has specific programmatic meaning. Furthermore the themes of this piece are attached to each protagonist in the story so there are leitmotifs which thread melodic cohesion through the whole work. Indeed, melodic layering is frequent; a theme from the 1st mvmt will reappear in the 2nd or 3rd mvmt but will be layered against another, newer, theme. The story-telling is served well by the composition technique of layering themes because it allows musical “conversations” to be depicted in a way that shows the listener how the protagonists in the story are affected by the past (old themes) while they experience their present emotions (new themes). The traditional Sonata-Allegro structure is loosely respected in the 1st mvmt, but then the cohesion of the rest of the work lies in how the story develops. This is a rewarding work to study from an academic standpoint because the narrative is so carefully assembled, but also the less attentive listener is meant to be able to enjoy this piece without analysis. A listener just passing by a performance of this piece should simply feel immersed in a sonic bath of richly rewarding sonorities!
This Sonata was written during the long 9 months I waited for my brother to return from his deployment to the North-Eastern mountain provinces of Afghanistan (the most dangerous region at the height of the war). {The title is borrowed from Beethoven but that’s where the comparisons cease. This piece was driven entirely by my own sense of emotional logic and creative urgency.} As I suffered my brother’s absence I felt the need to document the experience in the same way a classic Hollywood movie romanticizes everything; I kept imagining a scene from the 1940s (WWII) and I imagined a story told in three short chapters. The three movements of this composition each describe a scene: Farewell, Absence and Return. {I had to compose the 3rd movement based on my own hopeful imagination of things ending well for my brother; thankfully that was accurate.}
Each movement can be summarized briefly:
1) “Farewell” describes two people meeting at a train station to say an emotional goodbye.
2 ) “Absence” portrays sadness, repressed anxiety and loneliness.
3) “Return” offers a home-coming parade as the setting for a happy reunion!
Each movement carries 2 themes of its own, and then the themes of each successive movement layer old and new themes upon one-another.
Every theme in this Sonata has an emotional drive and every phrase is designed to contribute to the story in a way that has specific programmatic meaning. Furthermore the themes of this piece are attached to each protagonist in the story so there are leitmotifs which thread melodic cohesion through the whole work. Indeed, melodic layering is frequent; a theme from the 1st mvmt will reappear in the 2nd or 3rd mvmt but will be layered against another, newer, theme. The story-telling is served well by the composition technique of layering themes because it allows musical “conversations” to be depicted in a way that shows the listener how the protagonists in the story are affected by the past (old themes) while they experience their present emotions (new themes). The traditional Sonata-Allegro structure is loosely respected in the 1st mvmt, but then the cohesion of the rest of the work lies in how the story develops. This is a rewarding work to study from an academic standpoint because the narrative is so carefully assembled, but also the less attentive listener is meant to be able to enjoy this piece without analysis. A listener just passing by a performance of this piece should simply feel immersed in a sonic bath of richly rewarding sonorities!
Complete Analysis & Interpretation Notes – including structure summary;
Each movement carries 2 themes of its own, and then the themes of each successive movement layer old and new themes upon one-another.
The themes are labeled here in order to better describe the thematic outline:
1st Movement "The Farewell" (~7min)
The first 30 seconds of slow opening chords represent the slow and painful wait as time inches closer to departure.
Exposition:
Each person suffers the torture of "farewell" in a unique manner;
Theme A1 (0'30”): One person (the one staying behind) has a theme of simple melancholy and sadness, ending in a little fluttering of nerves agitated by worry (1'18”).
Theme A2 (measure 25) (1'30”): The other person (the one leaving) tries to be reassuring; this theme is richer (deeper and more masculine) and full of tenderness but soon rises into a more emphatic insistence as the other person's tears build mutual emotion.
Transition (m40) (2'25”): Time "ticks" onward in a broken octave theme; this is recurrent in this piece and represents "time passing." (It's a sort of 3rd person/presence in the story!)
(m44) (2'35”) There is a gentle broken octave melody built on Theme A2; this is the first time this theme carries regret.
Development-Recapitulation:
(m50) (3min) Time passes with bated breath, but the moment of departure only looms closer.
(m55) (3'20”) Theme A2 returns (more developed) and is punctuated by additional dialogue between the hands - if you look/listen closely you will see that a variation of Theme A1 is layered in the LH octaves underneath! Then new melodic material emerges from the conversation. The two parts "converse" (still with overlapping themes) until emotions rise to a huge crescendo, and "tearing apart" (5'55”) (m103) separates the two protagonists.
Coda:
(m 103) Gradually everything calms, and then we hear the resignation of Theme A1 (6'10”) pleading timidly - asking once more for the other person not to leave – in an echo once more, but this time accompanied by the broken octave theme of "time passing." The final notes are meant to leave the listener in hushed anticipation .... awaiting the continuation of the story.
Each movement carries 2 themes of its own, and then the themes of each successive movement layer old and new themes upon one-another.
The themes are labeled here in order to better describe the thematic outline:
- the first movement carries 2 themes labeled "A" (A1 and A2)
- the second movement carries 2 themes labeled "B" (B1 and B2)
- the third movement carries 2 themes labeled "C" (C1 and C2)
1st Movement "The Farewell" (~7min)
The first 30 seconds of slow opening chords represent the slow and painful wait as time inches closer to departure.
Exposition:
Each person suffers the torture of "farewell" in a unique manner;
Theme A1 (0'30”): One person (the one staying behind) has a theme of simple melancholy and sadness, ending in a little fluttering of nerves agitated by worry (1'18”).
Theme A2 (measure 25) (1'30”): The other person (the one leaving) tries to be reassuring; this theme is richer (deeper and more masculine) and full of tenderness but soon rises into a more emphatic insistence as the other person's tears build mutual emotion.
Transition (m40) (2'25”): Time "ticks" onward in a broken octave theme; this is recurrent in this piece and represents "time passing." (It's a sort of 3rd person/presence in the story!)
(m44) (2'35”) There is a gentle broken octave melody built on Theme A2; this is the first time this theme carries regret.
Development-Recapitulation:
(m50) (3min) Time passes with bated breath, but the moment of departure only looms closer.
(m55) (3'20”) Theme A2 returns (more developed) and is punctuated by additional dialogue between the hands - if you look/listen closely you will see that a variation of Theme A1 is layered in the LH octaves underneath! Then new melodic material emerges from the conversation. The two parts "converse" (still with overlapping themes) until emotions rise to a huge crescendo, and "tearing apart" (5'55”) (m103) separates the two protagonists.
Coda:
(m 103) Gradually everything calms, and then we hear the resignation of Theme A1 (6'10”) pleading timidly - asking once more for the other person not to leave – in an echo once more, but this time accompanied by the broken octave theme of "time passing." The final notes are meant to leave the listener in hushed anticipation .... awaiting the continuation of the story.
2nd Movement "The Absence" (~7’15”)
The opening theme is still built on the broken octaves of "time passing." Patient… and Waiting.
Theme B1 "Loneliness" emerges from the octaves of time; at (m7) first very restrained, then gradually (1'30”) developing into a fully-fledged song.
(2'35”) Theme B2 "Tears & Desire to Return Home" appears. It is full of descending chromatic turns (these are tears falling), with a sonorous octave counter-melody (borrowed and developed from the A2 Theme of the previous movement) in the LH; these low octaves represent the "grounding of home" which one yearns to experience. This theme builds into an accelerando of despair.
(4min) (m41) The tearful emotion of the middle of this movement finally yields to the theme of B1 - now expressed full of trepidation, anxiety, and dread.
(5min) (m53) The simplicity of B1 returns with a quieter accompaniment, but with more poignant melodic contours than before. The pain of melancholy here is pierced with a flourish of tears streaming (m56).
(5'55”) (m65) The A2 theme from the previous movement returns but this time in a simple RH single-note theme instead of the octaves in the LH; this change adds a completely new understanding of isolation and barren, fully drained, emotions.
(6'20”) (m73) Falling tears are shared by both hands as both protagonists arrive at desolate resignation.
(6'35”) (m75) Theme A2 is expressed as a somber funeral theme, against the thematic broken octaves of "time passing."
The opening theme is still built on the broken octaves of "time passing." Patient… and Waiting.
Theme B1 "Loneliness" emerges from the octaves of time; at (m7) first very restrained, then gradually (1'30”) developing into a fully-fledged song.
(2'35”) Theme B2 "Tears & Desire to Return Home" appears. It is full of descending chromatic turns (these are tears falling), with a sonorous octave counter-melody (borrowed and developed from the A2 Theme of the previous movement) in the LH; these low octaves represent the "grounding of home" which one yearns to experience. This theme builds into an accelerando of despair.
(4min) (m41) The tearful emotion of the middle of this movement finally yields to the theme of B1 - now expressed full of trepidation, anxiety, and dread.
(5min) (m53) The simplicity of B1 returns with a quieter accompaniment, but with more poignant melodic contours than before. The pain of melancholy here is pierced with a flourish of tears streaming (m56).
(5'55”) (m65) The A2 theme from the previous movement returns but this time in a simple RH single-note theme instead of the octaves in the LH; this change adds a completely new understanding of isolation and barren, fully drained, emotions.
(6'20”) (m73) Falling tears are shared by both hands as both protagonists arrive at desolate resignation.
(6'35”) (m75) Theme A2 is expressed as a somber funeral theme, against the thematic broken octaves of "time passing."
3nd Movement "The Return" (~7min)
This time the opening theme – C1 – is militaristic and full of energy; it is essentially a parade!
(m45) (0'35”) Theme C2 is a "Waltzing Heart" dancing in sweet anticipation of reunion.
(1'07”) There is a brief moment of suspense (at m61) followed by wild octaves which bring the hands of the pianist together from the extreme edges of the piano. It is a joyous reunion!
(1'15”) (m66) The previous movement's theme B1 explodes forth (in the RH) with grandeur and fulfillment. It is accompanied by the first movement's theme A2 underneath (in the LH). The joining of these two themes is a representative mix of shared histories.
(1'28”) (m69) The glittering inner Cadenza here expresses the "Soaring Joy" of holding a loved-one in perfectly mindless pleasure.
(1'55”) (m75) Again themes overlap: B1 in the RH & A2 in the LH - they reappear with "emotional alteration" from previous movements as they overlap in a grandiose blend of shared experience.
(2'20”) (m83) Theme A2 in the RH is now layered against a developed version of A2 in the LH and both themes grow into a happy arrival at repeating the melody of the opening Military Parade, full of pride and stateliness (2'47”) (m89).
(3'07”) (m105) The "Tango" Theme is a development of the “Waltzing Heat” Theme C2 – it appears as everyone dances with celebration!
(3'49”) (m128) There is a moment of overwhelming exuberance - painful joy- that crashes into Theme A1 (m130) which is now filled with gratitude, and layered over the version of Theme B1 which was expanded into "grounded in home" in the second movement. These themes then expand to reach ever higher...reaching for more sublime expressions of gratitude.
(4'27”) (m138) The sweetness of this section is based on the idea of Theme B2, but all the loneliness has dissipated and is now replaced with contentment and flourishes of joy (m142).
(4'54”) (m145) The Waltz Theme (C2) returns briefly, along with melodic ideas from the previous theme - thoughts are more fractured here as the protagonists realize that their reunion may be short-lived and separation will come again.
Coda:
(5'30”) (m161) There is a new but "familiar" sound to the closing melodic material; it is slightly melancholic, tender, soulful, and most importantly - it is shared between the hands as they flow in arpeggio patterns around the simple song-like melody. The two voices (which had been in constant contrast for the previous 20-ish minutes of story-telling) are finally sharing a single idea.
(5'51”) (m169) There is tranquility and stoic nobility to the final chapter of the story; everyone knows that future separation will be inevitable so it is best to make the most of our immediate moments, all the while as we hope for greater eternities.
So this Sonata is partly based on autobiographical events as I tried to distract myself from seeing by brother deploy for 9 months to Afghanistan at the height of the war, and it is partly based on what I HOPED would be the outcome. As I composed this piece I could only imagine that the 3rd movement would warrant celebration. Thankfully Ulysse came home safely. :-)
This time the opening theme – C1 – is militaristic and full of energy; it is essentially a parade!
(m45) (0'35”) Theme C2 is a "Waltzing Heart" dancing in sweet anticipation of reunion.
(1'07”) There is a brief moment of suspense (at m61) followed by wild octaves which bring the hands of the pianist together from the extreme edges of the piano. It is a joyous reunion!
(1'15”) (m66) The previous movement's theme B1 explodes forth (in the RH) with grandeur and fulfillment. It is accompanied by the first movement's theme A2 underneath (in the LH). The joining of these two themes is a representative mix of shared histories.
(1'28”) (m69) The glittering inner Cadenza here expresses the "Soaring Joy" of holding a loved-one in perfectly mindless pleasure.
(1'55”) (m75) Again themes overlap: B1 in the RH & A2 in the LH - they reappear with "emotional alteration" from previous movements as they overlap in a grandiose blend of shared experience.
(2'20”) (m83) Theme A2 in the RH is now layered against a developed version of A2 in the LH and both themes grow into a happy arrival at repeating the melody of the opening Military Parade, full of pride and stateliness (2'47”) (m89).
(3'07”) (m105) The "Tango" Theme is a development of the “Waltzing Heat” Theme C2 – it appears as everyone dances with celebration!
(3'49”) (m128) There is a moment of overwhelming exuberance - painful joy- that crashes into Theme A1 (m130) which is now filled with gratitude, and layered over the version of Theme B1 which was expanded into "grounded in home" in the second movement. These themes then expand to reach ever higher...reaching for more sublime expressions of gratitude.
(4'27”) (m138) The sweetness of this section is based on the idea of Theme B2, but all the loneliness has dissipated and is now replaced with contentment and flourishes of joy (m142).
(4'54”) (m145) The Waltz Theme (C2) returns briefly, along with melodic ideas from the previous theme - thoughts are more fractured here as the protagonists realize that their reunion may be short-lived and separation will come again.
Coda:
(5'30”) (m161) There is a new but "familiar" sound to the closing melodic material; it is slightly melancholic, tender, soulful, and most importantly - it is shared between the hands as they flow in arpeggio patterns around the simple song-like melody. The two voices (which had been in constant contrast for the previous 20-ish minutes of story-telling) are finally sharing a single idea.
(5'51”) (m169) There is tranquility and stoic nobility to the final chapter of the story; everyone knows that future separation will be inevitable so it is best to make the most of our immediate moments, all the while as we hope for greater eternities.
So this Sonata is partly based on autobiographical events as I tried to distract myself from seeing by brother deploy for 9 months to Afghanistan at the height of the war, and it is partly based on what I HOPED would be the outcome. As I composed this piece I could only imagine that the 3rd movement would warrant celebration. Thankfully Ulysse came home safely. :-)