ISBN 9781491133613. 9 x 12 inches.
Richard Wernickas third piano sonata begins as a musical outgrowth of his first; what functioned as the fading away of the earlier work is now the impetus for a whole new piece, with its first movement titled a... a coda completed.a The second movement is just plain fun,aThe Sunken Synagogue a with a Fiddler on the Roofa referencing Debussyas The Sunken Cathedral, its piety interrupted by bits of scherzo-like afiddlinga perhaps more inspired by Chagall than by Tevye. The third movement, aBits and Pieces,a takes fragments from the prior movements and develops them in fresh ways.
I wrote my SONATA NO. 3 for Charles Abramovic, and it is, among other things, an outgrowth of my first piano sonata, which I composed many years ago for his colleague Lambert Orkis. The first movement of the third sonata begins where the last movement of the first ends. What functioned originally as the fading away of one piece of music appears to have had enough life in it to do the reverse a become the impetus for a whole new piece, and to make a nice connection between the two. The second movement was just plain fun a a ariffa on Debussyas Sunken Cathedral with the piety interrupted by a bit of scherzo-like afiddling.a The third movement employs a technique I have come to enjoy a taking motifs, rhythms, phrases, etc., from prior movements and exploring them in ways that donat appear the first time around; employing them in different relation to one another, and using them as acommentarya on themselves.
