I. Allegro, II. Andante, III. Presto
Dedicated to Hayley Glickfeld
This sonata is my first serious look at writing in an authentic Classical style. It opens with a traditional Allegro movement, followed by a sweet Andante, finishing with a lively rondo marked Presto. Thematic material is shared throughout all three movements, truly incorporating them into a single work.
Although there are some devices used that seem alien to the period, such as the metric modulation in the finale and cyclical themes used throughout the work, most of the Sonata is inspired by the works of Mozart and Beethoven. This piece is dedicated to Hayley Glickfeld, whose sweetness and love for Mozart inspired me to go back to the classics.
Towards the end of the third movement is a measure marked Cadenza, but no cadenza is present and there’s nothing in the appendix. During a live performance, this section is completely improvised. In the score for distribution, I’ll have to write three or four optional valid cadenzas to use for those without theory and composing skills, but this section is intentionally left blank to give me and other pianists an opportunity to practice improvisation in a classical style. Every performance of this is different, which makes this piece very unique and fun.
The two themes in the Allegro movement reappear in the Andante and Presto movements in different forms, truly linking the three movements into a single, cohesive work. Theme I reappears as the secondary theme of the Andante with harmonic and phrasing adjustments to make it fit into 4/4 time from the original 3/4 time.
The slower Theme II of the first movement becomes the lively rondo theme of the finale, straighted-out rhythmically to fit snugly into cut time. It reappears in its original 3/4 form as the final rondo episode, quoting the first movement before the coda, which closes the sonata nicely by quoting Theme I.