Search engine for discovering works of Art, research articles, and books related to Art and Culture
Javascript must be enabled to continue!
TIPPETT'S FOURTH PIANO SONATA
View through CrossRef
AbstractOn 10 May 1989 pianist Philip Mead was engaged to play Tippett's Fourth Piano Sonata at Birmingham University on the occasion of the composer receiving his honorary doctorate there. This was preceded by an afternoon workshop on the piece with lively discussion between composer and pianist. Two days previously, on 8 May 1989, in preparation for the concert, Mead played the work privately to the composer. The information in this article, which is almost entirely drawn from those two meetings, begins with a brief description of working with Tippett. Then, after an overview of all four sonatas it makes general points about the structure and style of the Fourth Sonata. Finally, each movement is discussed in turn using ideas, many of which were initiated by the composer, developed by the pianist.
Title: TIPPETT'S FOURTH PIANO SONATA
Description:
AbstractOn 10 May 1989 pianist Philip Mead was engaged to play Tippett's Fourth Piano Sonata at Birmingham University on the occasion of the composer receiving his honorary doctorate there.
This was preceded by an afternoon workshop on the piece with lively discussion between composer and pianist.
Two days previously, on 8 May 1989, in preparation for the concert, Mead played the work privately to the composer.
The information in this article, which is almost entirely drawn from those two meetings, begins with a brief description of working with Tippett.
Then, after an overview of all four sonatas it makes general points about the structure and style of the Fourth Sonata.
Finally, each movement is discussed in turn using ideas, many of which were initiated by the composer, developed by the pianist.
Related Results
Approaching the Sketches for Beethoven's Hammerklavier Sonata
Approaching the Sketches for Beethoven's Hammerklavier Sonata
Contrary to his usual procedure, Beethoven seems to have composed the "Hammerklavier" Sonata without the aid of a desk (or standard-format) sketchbook: the surviving desk sketches ...
Piano Music by Erik Chisholm
Piano Music by Erik Chisholm
Piano music of Erik Chisholm and his friends. BARTÓK: With Drums and Pipes. SORABJI: Fantasiettina sul nome illustre dell'Egregio poeta Hugh MacDiarmid ossia Christopher Grieve. CH...
New Music in London
New Music in London
Rarely can one safely say from a purely aural knowledge of a single performance that any new work is a masterpiece. But at last such an opportunity has come with the Zorian's perfo...
WHAT BEETHOVEN LEARNED FROM K464
WHAT BEETHOVEN LEARNED FROM K464
ABSTRACTBeethoven imitated Mozart's String Quartet in A major K464 more openly than any other work by a fellow composer. Yet critics have never explained his fascination with the f...
The Middle Style/Late Style Dialectic
The Middle Style/Late Style Dialectic
In this essay, I aim both to elucidate and to problematize Adorno’s reading of Beethoven’s middle and late styles as essentially dichotomous. Specifically, Adorno holds that the mi...
Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano
Copland’s Fifths and Their Structural Role in the Sonata for Violin and Piano
Perfect fifths occupy a privileged role in much of Aaron Copland’s music. This essay explores the structural significance of ic-5 emphases in the Sonata for Violin and Piano sugges...
John Ireland's Fantasy-Sonata for Clarinet and Pianoforte
John Ireland's Fantasy-Sonata for Clarinet and Pianoforte
It may be objected that the title contains a contradiction in terms. For how is it that a movement can be at once a fantasy whose essence is that of a free design drawn according t...
Spinner's Violin Sonata – Why op. 1?
Spinner's Violin Sonata – Why op. 1?
Leopold Spinner composed his Sonata for Violin and Piano at the age of 30, in Vienna, in late 1936, while Studying with Webern. It was performed in Vienna on 22 November of that ye...