Second Sonata

SKU: PA.H07911

ISBN 9790260104457. 31 x 23.5 cm inches.

Lubos Fiser (1935-1999) was one of the most talented Czech composers of his generation. Born in Prague, he studied at the Prague Conservatoire from 1952-1956 and then at the Academy of Music. He was known to the public for his many film scores but it was his other compositions, many of them written under difficult political conditions, which mark him out as a composer of significance.

Fise r's eight piano sonatas have a special place in his oeuvre. Fiser subsequently eliminated his second sonata (1956) from his compositional repertoire. From the third sonata onwards (1960), subtitled Fantasia, the composer wrote a two-movement composition, in which he continued to incorporate as his fundamental musical device the confrontation of sharp contrasts in tempo and mood. Beginning with his fourth sonata (1962-1964), Fiser created a single-movement work in an expressive, formally focused composition which betrays a progression towards greater compactness of musical shape in a concise yet effective musical testimony. The fifth sonata was written in 1974, the sixth sonata in 1978. The seventh sonata from 1985 was dedicated to Frantisek Maxian, the eighth sonata was written in 1995.

Piano Sonata No.1 was written in 1955. Fiser worked on it during his last year at the Prague Conservatoire under the supervision of Emil Hlobil. The piece is one of Fiser's early works which still respect a traditional compositional approach. Unlike his major and late piano sonatas, this sonata has three movements, each representing the traditional Classical-Romantic form. The sonata was premiered by Fiser's fellow-student and friend Antonin Jemelik in Theatre D34 on 30 January 1956.

The new setting for this piece is based on the single edition to date (SNKLHU, 1957); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music, acquisition number 297/2006).

SKU: HH.HH335-FSP

ISBN 9790708024910.

This Sonata in A major, clearly belonging to the 'London' group but not preserved in the British Library manuscript containing seven similar works, was published by John Walsh in April 1704 as the second sonata by Bitti presented in a series of violin sonatas by different composers delivered to subscribers in twelve monthly instalments. It is an extrovert work well suited to public performance -- we know that the Cremonese violinist Gasparo Visconti played it in London. The fast second and slow third movements, unusually for Bitti's violin sonatas preserved in London, lack clear dance associations: the Allegro starts with playful imitations between violin and bass, but these eventually give way to violin acrobatics; the slow movement is a model of continuously evolving melody.

SKU: PO.PEL11

ISBN 9781776605514.

This volume comprises of Lilburn's four piano sonatas. The sonata in F sharp minor is a work of pure Romantic sensibility, while the sonata for piano in A minor reveals Lilburn's very sharply realised visual sense. There is a bracing, lyrical power to his 1949 sonata, the curve and grain of the music partaking of an impressive physical space. The second sonata, from 1956, provides an outstanding example of Lilburn's orchestration of piano colour and his sensitive balancing of tonal relationships.

SKU: ET.PNO102

ISBN 9790207009760.

The first movement has a dreamy and dramatic impressionistic quality, whereas the second movement is deeply melancholy and religious sounding. The third movement is playful with pulsating rhythms, which demonstrate a symphonic jazz feel.
In 1963, at the age of thirty, Lane quickly formed up a close friendship with Paul Van Ness through their involvement with the Ridgewood Orpheus Glee Club (NJ), an all-male choir for which Lane was appointed accompanist. Lane maintained the accompanist position for this group for forty-one years until his death in 2004. Lane dedicated his Sonata 2 to Van Ness as a high school graduation present in 1965. During this period Lane also composed a piano suite for four hands, and a fantasy for piano and orchestra, along with other solo instrumental, choral and orchestral works. Van Ness performed the world premiere of Piano Sonata 2 at his Senior Recital in 1969, five years after its conception, at the Eastman School of Music, Lane’s alma mater. Karl Tricomi, another student of Lane’s and also graduate of the Eastman School of Music performed this second Sonata in 1976 at Carnegie Hall (NY) as well.

SKU: SU.80101323

Organ Duration: ' Composed: 2012 Published by: Zimbel Press Works from the baroque entitled Sonata da Chiesa (Church Sonata) were multi-movement pieces of a non-liturgical nature that could be performed either during religious ceremonies or concerts. The first movement, Andante cantabile, is warm, unfolding music for the organâ??s foundations. The second movement, Pastorella, is gentle and lyric. The concluding movement, Alla marcia, is a joyous march in festive style. (A second sonata, #80101344 is also available.).

SKU: HL.49013019

ISBN 9790001128247.

Jarn ach wrote three sonatas for solo violin. The second Sonata, Op. 11, was composed in 1913 and is dedicated to Max Reger. With the increase in interest in the music of the early decades of the 20th century, the works of the Busoni pupil Jarnach are experiencing a renaissance in the concert hall.

SKU: HL.14030704

The second sonata is on a much larger scale than the first, and has three movements which develop in intensity, reaching a climax in the last movement which is a passacaglia. It is a stormy work, in the sense that it opens peacefully and closes in a similar manner, with a heavy shower of notes and ideas in between. There is little hint of this in the gentle opening of the first movement, and although it follows the pattern of its previous sonata in developing a climax and releasing it again, it is not until the scherzo, with its powerful motor rhythms, that the full fury of the storm breaks. The concluding passacaglia is built on repetition. The nature of the form party makes this inevitable, but repetition becomes a subtext, with the idea of speeding up to a climax being itself repeated, the second time subsiding into the peace of a storm blown out. ~ John Joubert.

SKU: HL.14028008

ISBN 9788759852521. English.

The Dante-Sonata was composed in 1970, inspired by two quotations from Dante's La Divina Comedia, Inferno, each in its turn forming the program of the two movements. Movement 1: Wandering through Inferno Dante sees all those who during their life on earth were ill-tempered and discontented, and who are now doomed for all eternity to stand in mud up to their necks, fighting each other, tearing and scratching each other's flesh. Movement 2: Here the doomed wretches recollect life on earth - the blessed sun and the green meadows; but it is too late to repent. Apart from having this connection with La Divina Comedia the title: Dante-Sonata has a dialectical and music-historical reference, a reference to Franz Liszt's Dante Sonata, without quoting from it in any way. An elusive air of the music of bygone days can be percieved in the second movement, which with its many types of graces is reminiscent of a slow movement of a Baroque dance. Dante-Sonata is dedicated to Elisabeth Klein.

SKU: C4.9790902261098

ISBN 9790902261098. 8.27 x 11.7 inches.

In its original incarnation, Karg-Elert's Second Sonata for Harmonium was recognised as a key work for the instrument, proportions almost Everestian. Graham Barber's wonderful transcription for organ is a virtuosic showpiece that guarantees to thrill audiences both seasoned and new.

A recording of this transcription played by Graham Barber on the 86-stop Link/Gaida organ of St. Paul's Evangelical Church, Ulm is available from Fugue State Records (FSRCD016).

SKU: HL.48187329

UPC: 888680829827. 9.0x12.0x0.121 inches. French.

“Phil ippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise, therefore, that his compositions for the instrument are at the forefront of the Flute's repertoire, Sonata No. 2 being no exception. After a prominent career as a flautist with the Paris Opéra, he was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed, including his Sonata No. 2 which premiered in 1925. Addressing many technical features, including flourishing semiquaver passages, a wide range, emotion, intervals, chromaticism and complex rhythms, Sonata No. 2 is a challenging yet riveting and stirring piece for aspiring flautists.”.