Sonata No. 1 for Timpani and Piano
General Info
Year: 1965
Duration: c. 6:30
Difficulty: (see Ratings for explanation)
Publisher: Meredith
Cost: Score and Parts - $0.00 | Score Only - $0.00
Movements
Instrumentation
Program Notes
(note: available CPP/Belwin as a collection titled "Four Sonatas for Percussion")
Sonata #1 was completed after six years of intensive study with Saul Goodman.
The piano opens the work with a Maestoso statement; it sets the tone for the introduction, and is immediately followed by a similar statement on timpani.
The Allegro agitato is a fanciful romp through mixed meters; however, the compound harmonies in the piano ass a complexity to the music. The Allegro becomes slower an heavier as the piano and timpani trade off as soloist and accompanist.
The unison rhythms in the last segment of the Sonata represent a wish that some day we may be one with the master in greatnesses- but, for most, it is only a dream, because Saul Goodman will always be the ultimate virtuoso.
-Anthony J. Cirone[1]
Review
The Sonata No. 1 has a piano accompaniment. The interest within the first movement, with the timpani tuned to a major triad, lies in the changing meter, dynamic structure, and accents in the timpani part and the piano chord structure. The second movement, which is very expressive, features tuning changes while rolling on two drums. The writer prefers to use a multiple bounce roll in this movement. The third movement is energetically driving with timpani and piano both emphasizing melodic leaping. Counting must be precise for both instruments to integrate. The first movement of the Sonata No. 2 consists of two declamatory passages interspersed between rapidly moving, toccata-like passages. The second movement, which involves considerable tuning changes, has a sweet, lyrical quality. The third movement, which is fun to play and hear, includes both "out of kelter" meters and some quick tuning changes. The Sonata No. 3 explores the wide expanse of a major ninth interval and the tones in the center of this interval. The resultant chordal structures developed upon are fourths, fifths, tritones, etc. The outer notes tend to serve as pedal points with the middle tones employed in melodic patterns. The third movement contains many quick meter changes. As noted above, the Sonata No. 1 contains piano accompaniment. The other two are unaccompanied solos. The printing is clear and well-spaced. Interpretive markings are well planned and detailed. Tunings are not changed between movements, which gives a better sense of continuity to the audience. The writer would prefer accidental markings to be included as a key signature. These three works are well within the grasp of the proficient high school student and are worthy of the attention of the college percussion major. - Linda Pimentel, Winter 1978[2]
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Works for Percussion by this Composer
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