related works

The overwhelming blankness of the ultimate meaninglessness of tragedy : for 2 ensembles, soprano and actor, 1995-1996 / words: Jorge Luis Borges, Octavio Paz, Amnesty International, Edward Top

Genre: Vocal music
Subgenre: Vocal ensemble (2-12) and large ensemble
Scoring: sopr recit 1111 1110 perc vibr hp pf 2vl vla vc cb

Azzurro : for piano / Paul Termos

Genre: Chamber music
Subgenre: Piano
Scoring: pf

without title : Piano / Daniël Belinfante

Genre: Chamber music
Subgenre: Piano
Scoring: pf

Kermesse : op. 17, 1935 / Wolfgang Wijdeveld

Genre: Chamber music
Subgenre: Piano
Scoring: 2pf

composition

Sonate : voor piano, 1997 / Edward Top

Other authors:
Top, Edward (Composer)
Contains:
Moderato
Adagio-Intermezzo
Andante
Presto
Description:
Program note (English): In this composition the Fibonacci sequence (2:3:5:8:13:21:34 etc.) plays an important role. This sequence is applied to different levels: - a) the proportions of the four movements, - b) the tempi: Moderato- crotchet =90, Adagio- quaver =72 (or crotchet=144), Andante- crotchet =54, and Presto/ Prestissimo- crotchet = 144/218, - c) the bar proportions: 3/8:3/8:5/8 etc., - d) the rhythm, i.e. note lengths. Some exceptions aside, the four movements consist of equal amounts of measures. Because the larger measure units (34/8 and 55/8) were impractical to read, especially for the performer, these bars are subdivided into 4/4-bars.
Each original measure unit is individually recognised by a distinct characteristic such as slow melodic lines, fast ascending, descending or contrapuntal motions, chord repetitions, ornaments such as trills and grace notes, and, mainly in the last two movements, stylistic quotations that provide the work with an eclectic surface. Since it was added later, the Presto introducing the Prestissimo in the last movement, drops out of the strict form based on the Fibonacci sequence. The determination of pitch is realised in a strictly serial way throughout the composition. The point of departure is a four-tone motif of E-F-G-A# that is treated as a series. This motif can be heard in the opening bars of the sonata. Each note of this motif forms the foundation of each movement (for example E is the central note of the Moderato , and motif-note G is very recognisable in the Andante ). Attached to each of the four notes are chromatic seven-tone series. To each of the seven notes of each of
these series, again, seven-tone (micro) series are connected. Except for the regular chord repetitions, in the Adagio , the rhythm and register are strictly determined. The third movement and particularly the fourth, with all its glissandos and clusters, are composed more freely around the serial working method. - EDWARD TOP