Donemus Webshop — Sonata a tre

Sonata a tre : (Points of contact III), for flute, alto clarinet (or bass clarinet) and piano, 1990 / Joep Straesser

Contains:
Allegro ma non troppo
Molto sostenuto
Allegro molto energico
Description:
Program note (English): "As Sonata a tre" immediately follows "Quasi una sonata" for saxophone quartet, it is only natural to compare both pieces in a number of points. Although the two titles suggest a relationship - which certainly exist regarding the continuous variation in and handling of musical starting points - one can spot more differences than similarities. "Sonata a tre" is regarding the choice of material and its development and the form of the movements a more complex composition than the saxophone quartet. On the level of pitch organisation this is reflected by the fact that in the trio the same sort of eight-tone series is used as in the quartet, though in a far more intensive way, that is in a way which reminds us of how we used to handle twelve-tone series in former days. When all (8) tones have been used - which is often achieved after two beats - a constantly varying transposition is applied, yielded a greater chromatic tone compactness than the one in the saxophone quartet, in
which the same tone atmosphere often remains longer present. The rhythmical complexity and the concomitant rhythmical polyphony have a considerably higher level in the trio as well. The same applies for the musical forms which may as well be called sonata-like (parts 1 and 3), but which refer less explicit to the 18th and 19th century sonata forms than in the quartet. The two compositions do display a similarity of structure in their 3rd movement, which in the trio too has a summarizing character because of the recurrence of musics from the 1st and 2nd part; in the trio, however, in an intensified form, in the quartet rather as a quotation. Another aspect in which "Sonata a tre" is distinguished from "Quasi una sonata" is a special colouring technique which was applied in two earlier compositions and which comes to a "meeting" between the performing instruments ('Points of contact') in the same pitch, and/or rhythm, with the employment of unisono techniques as final consequence. This
procedure can be traced in each of the three parts, but it is furthermore raised to a compositional starting point in part two. Consequently, this second part has hardly any dealings with the sonata-like atmosphere of the two outer movements. Summarizing one could say that, from the composer's point of view, both pieces display an extravert character, that they have been written straightly to the audience without troubling it with musical-technical views and cultural philosophic ruminations. The saxophone quartet, however, is clearly breathing a classical atmosphere, whereas the trio has a more explosive and romantic character. - JOEP STRAESSER

Sheet Music
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Product	Description	Price/piece	Count
Score	Download to Newzik (B4), 18 pages	EUR 14.89
	Download as PDF (B4), 18 pages	EUR 17.86
	Hardcopy, normal size (B4), 18 pages	EUR 29.78
	Hardcopy, study size (A4), 18 pages	EUR 24.44