Located in the UK
Located in the USA
Located in Europe
- John McCabe
Sonata (Study No 12: Homage to Tippett) (2009)
- Novello & Co Ltd (World)
Programme Note
The series of concert pieces (ranging from 5 to 16 minutes) that I have called Studies
started with the intention of exploring either pianistic or compositional topics, but has
since No 7, a homage to Dukas, also reflected my love of the music of various
composers. Tippett’s piano music, some of which I have played many times, has
always fascinated me for its examination of an enormous range of keyboard sonorities
and technique, and for its lyrical poetry and the energy and dynamism so typical of its
composer. In this study, I have combined my tribute to him (during which I refer to
two of his works) with an exploration of sonata form – for many years I resisted the
idea of writing a Piano Sonata (note the capital letters), thinking sonata form itself
was not for me, but I suddenly felt I could write a single-movement work, thinking of
the examples of Hoddinott, Scriabin and Tippett himself, which would impinge
closely on sonata form. Thus, the opening vigorous section recurs as a kind of
recapitulation to close the work, and between those two parts are a slow "movement”,
and then a lightly scored scherzo. The actual ending itself vanishes into the distance in
a little phrase which gets quicker and quieter until it is hardly heard.
© 2009 by John McCabe
started with the intention of exploring either pianistic or compositional topics, but has
since No 7, a homage to Dukas, also reflected my love of the music of various
composers. Tippett’s piano music, some of which I have played many times, has
always fascinated me for its examination of an enormous range of keyboard sonorities
and technique, and for its lyrical poetry and the energy and dynamism so typical of its
composer. In this study, I have combined my tribute to him (during which I refer to
two of his works) with an exploration of sonata form – for many years I resisted the
idea of writing a Piano Sonata (note the capital letters), thinking sonata form itself
was not for me, but I suddenly felt I could write a single-movement work, thinking of
the examples of Hoddinott, Scriabin and Tippett himself, which would impinge
closely on sonata form. Thus, the opening vigorous section recurs as a kind of
recapitulation to close the work, and between those two parts are a slow "movement”,
and then a lightly scored scherzo. The actual ending itself vanishes into the distance in
a little phrase which gets quicker and quieter until it is hardly heard.
© 2009 by John McCabe