Sally Beamish - Catalogue
http://scottishmusiccentre.com/sally_beamish/
Catalogue
Piano Sonata (1996)
Programme Note available
Sally Beamish
Commissioned by William Howard.
First performance:
William Howard, Brighton Festival, 01 Jan 1996
Recording / Location: sound archive - C-XZ 315 [enquire]
Score / Location: ref library [buy]
Score / Location: archive collection [enquire]
Recording / Location: sound archive - YELLOW [enquire]
Programme Note availableSally Beamish
Commissioned by William Howard.
First performance:
William Howard, Brighton Festival, 01 Jan 1996
Work Details
Category: keyboard
Duration: 15'
Instrumentation: Pf
Duration: 15'
Instrumentation: Pf
SMC Holdings
Recording / Location: sound archive - C-XZ 315 [enquire]
Score / Location: ref library [buy]
Score / Location: archive collection [enquire]
Recording / Location: sound archive - YELLOW [enquire]Programme Note
Looking back over my work to date I find that every recent piece stems in some way from a direct `outside' inspiration - a painting, a poem, a ballad, a story.
In writing my first large-scale work for piano, I set myself the challenge of returning to purely abstract musical ideas - something I used as a child, but somehow haven't had the confidence to use since. My first instrument was the piano, and it was always been closely bound up with my composing, so I feel with this piece that I am returning `to my roots.'
The sonata is in four movements, each of which reflects a different aspect of pianistic technique: Andante (counterpoint); Lento (harmony); Presto possible (dexterity); Adagio molto espressivo (melody).
However, having completed the piece, I have to admit, in spite of my resolve, to certain outside influences. The third movement is inspired by a piece for solo side-drum by the Icelandic composer Askell Masson, and the last movement by birdsong.
I was about to embark on the last movement when the news came of the tragedy in Dunblane. I could not separate my work from my shock and distress. A few days before, I had been surrounded by a class of small children discussing birdsong in music. The movement somehow reflects both events, with austere, monodic calls surrounded by silence.
Sally Beamish
Looking back over my work to date I find that every recent piece stems in some way from a direct `outside' inspiration - a painting, a poem, a ballad, a story.
In writing my first large-scale work for piano, I set myself the challenge of returning to purely abstract musical ideas - something I used as a child, but somehow haven't had the confidence to use since. My first instrument was the piano, and it was always been closely bound up with my composing, so I feel with this piece that I am returning `to my roots.'
The sonata is in four movements, each of which reflects a different aspect of pianistic technique: Andante (counterpoint); Lento (harmony); Presto possible (dexterity); Adagio molto espressivo (melody).
However, having completed the piece, I have to admit, in spite of my resolve, to certain outside influences. The third movement is inspired by a piece for solo side-drum by the Icelandic composer Askell Masson, and the last movement by birdsong.
I was about to embark on the last movement when the news came of the tragedy in Dunblane. I could not separate my work from my shock and distress. A few days before, I had been surrounded by a class of small children discussing birdsong in music. The movement somehow reflects both events, with austere, monodic calls surrounded by silence.
Sally Beamish