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 havenʼt 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.
Commissioned and first performed by William Howard at the 1996 Brighton Festival.
Premiere details
1996 William Howard / Brighton Festival