SKU: A0.1499301

Foreword:
Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.

Performance Notes:
I Moderately fast,  expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.

II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.

III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.

James Albert Yeager (b.1946)
James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985).  He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.