Finale of my Sonata 3 (1962, 1974), progress report


I have revised the template to the Finale of my Sonata 3 in Sibelius 7.5 on my MacBook, so I want to record a note about what I have.

All of the file names below are what I have saved the various
“pieces” of the Finale as.  In time, I may publish more of the pdf’s for these (or even mpg’s).  But I wanted to take a checkpoint on where this work is.

The best sequence right now is:

MSonata3FinaleA1   Opening toccata   (C, Allegretto, 2/4 and then mostly 6/8, fugato-style

MSonata3Finale2   Transition, a little slower

MSonata3Finale3   Transition continues, antiphonal episode

Sonata3Mov4E2a   Reprise of toccata returns, C Major, 6/8

Sonata3Mov4E3a   Meno Mosso, 3/4, transition to major hymn episode

HoldApplauseHymn,  F# Major, 4/4 and 6/4, Andante, like a hymn but very chromatic, major “middle section” episode’

Sonata3Mov4E5a   3/8  “Development”.  Fugato theme starts getting mixed with material from my “short pieces” (Nov. 25, 2015 post) mostly the minuet theme centered around E. Comes to a dissonance

Sonata 3Mov4E5b  4/4  Development continues.  “Song themes” from later work try to slow the movement down.  A few motifs from Beethoven (Sonata 1 Minuet) and Scriabin (Black Mass) are briefly quoted in counterpoint.  The music struggles (becoming atonal) to maintain momentum, and comes to a crashing unresolved dissonance, as it tries to connect the music of this Sonata with that of other composers


Piano cadenza, largely atonal, emphasizing fugato themes in fast tempo, leggerio, bringing in themes from the first movement, showing them related.  The Bruckner 9th descending octave theme is quoted once.

Sonata4Mov4Coda1 and then Coda2 (“Coda of the Coda”)

The F# Major Hymn tune returns, Maestoso, FF.  Although the music is hymn-like and laid out the way the phrases of a hymn verse might be, the music has to get back to the key of C.  It goes to D#Minor, E-flat major, C Major, A Minor, A Major, D Major, then acts like it will end quietly in F.  But that is a ruse to move to the Final C, using the “Bruckner Modulation” at the end of the 8th Symphony. Finally, the descending thirds of the hymn tune ring out, as a rising theme (from the Bruckner 7th and scherzo from the 8th underneath, with motives from this Sonata played in rapid notes in the high treble) plays in the base, leading to the finally FFF chords and octaves in C, Maestoso.

(Published: Friday, Jan. 15, 2016, 4:45 PM EST)


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