Sonata No. 5 From First Book

SKU: FG.55011-754-9

ISBN 9790550117549.

Yrjà ƒÂ¶ Kilpinen (1892-1959) is most known for his hundreds of lieds and song cycles. His instrumental compositions have been less know, ie. the six piano sonatas and suite for gamba and piano. Large-scale Sonata for violin and piano is dated in 1935 with opus number 87. The work was never finished, and National Library in Helsinki holds several sketches and versions in its Kilpinen collection.

In 2015 violinist Frida Backman commissioned a completion of the Sonata from composer Walter Wolff. Wolff worked on the sketches and versions until 2018, when the work was completed and the Sonata premiered.

The present publication is the first publication of the Sonata. It sheds light to Kilpinen as an instrumental composer.

The movements are: Allegro - Andante - Andante Moderato - Allegro

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Yrjö Kilpinen (1892-1959) tunnetaan lähinnä lied-sävellyksistäà ƒÂ¤n, joita aktiivisina sävellysvuosina syntyikin satoja. Vähemmälle huomiolle ovat jääneet hänen instrumentaalisävellyk sensä, mm. kuusi pianosonaattia, sellosonaatti, sarja gamballe ja pianolle sekä muutamat pikkukappaleet.

Vuodelle 1935 päivätty neliosainen, laajamuotoinen sonaatti viululle ja pianolle (op. 87) jäi keskeneräiseksi. Suomen Kansalliskirjaston Kilpinen-kokoelmassa oli useita luonnoksia ja eri versioita. Sonaatin osista neljäs oli keskeneräisin.

Viulutaiteilija Frida Backman tilasi konserttiaan varten sonaatin täydennöksen säveltäjä Walter Wolffilta. Hän sai työnsä päätöksen 2018, jonka jälkeen sonaatti kantaesitettiin.

Fennica Gehrmanin julkaisu on sonaatin ensipainos, ja siten laajentaa kuvaamme Yrjö Kilpisestä instrumenttiteosten säveltäjänä.

Teoksen osat: Allegro - Andante - Andante Moderato - Allegro.

SKU: UT.QC-2

ISBN 9788881094585. 6.5 x 9.5 inches.

The career of Muzio Clementi (1752-1832) spanned the lives of both Mozart and Beethoven and was exceptionally diverse. It encompassed performing on the keyboard, conducting, teaching, business activities and composition in the realms of keyboard, chamber and orchestral music. This book focuses on Clementi’s keyboard sonatas and aims to shed new light on their relationship with the complex cross-currents of late eighteenth-century musical style, both in England, where Clementi was active for much of his career, and the continent, which he visited periodically.
The first chapter summarises Clementi’s historical reputation as it developed in the nineteenth and twentieth centuries, and evaluates the impact on it of the significant developments in Clementi scholarship since 2000. The aim is to stress the deficiencies of the established view of Clementi as a keyboard pedagogue and to stress the importance of liberating him as much as possible from this ingrained perception. This is attempted, in the remaining chapters, through close, analytical readings of a variety of keyboard sonatas from all stages of his career, comparing them with a range of works by Haydn, Mozart, Beethoven and other contemporaries such as Jan Ladislav Dussek (1760-1812). The comparisons are made from the perspectives of distinguishing features of Clementi’s style such as his unusually intense deployment of strict counterpoint in the later keyboard sonatas; his cultivation of irregularity in recapitulations; his use of the ‘three-key’ exposition in the middle-to-later stages of his career that seems to anticipate nineteenth-century developments, and also his assimilation of heightened virtuosity into the earlier sonatas, often in the form of cadenzas more suggestive of the keyboard concerto – a genre Clementi seems, rather strangely, to have neglected. The book has been envisaged as a direct response, not only to the most recent scholarship on Clementi, but also to current approaches to eighteenth-century music in general, including the interdisciplinary work of Annette Richards.