Piano Sonata No.5 (Besset, Julian Raoul)

Contents

Performances

Recordings

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Synthesized/MIDI

MP3 file (audio)
Jurabe (2016/2/8)

Performers Composer
Publisher Info. Julian Raoul Besset
Copyright
Misc. Notes Processed with Garritan CFX Concert Grand (Contemporary)
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MP3 file (audio)
Jurabe (2016/2/24)

Performers Composer
Publisher Info. Julian Raoul Besset
Copyright
Misc. Notes Processed with Garritan CFX Concert Grand Classic (right hand) & Contemporary (left hand)
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Sheet Music

Scores

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Jurabe (2016/2/8)

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Jurabe (2016/2/11)

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Jurabe (2016/2/24)

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Jurabe (2016/3/6)

PDF typeset by composer
Jurabe (2016/2/8)

Publisher. Info. Julian Raoul Besset
Copyright
Misc. Notes Working backward as it were, the note making for the closing movement was finished first. The other movements followed in the same way, starting, more logically, with Movement no.1. At the end of the process, the 5 movements were to be reunited and expression marks added (the individual movements are just the bare notes, mostly), plus the preparatory drafts. This procedure ended as explained infra.
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PMLP661564-Movement 5.pdf

PDF typeset by composer
Jurabe (2016/4/4)

Publisher. Info. Julian Raoul Besset
Copyright
Misc. Notes The five bare movements above (roughs) are now assembled in a finalized sonata form. The editing effort involved has unsurprisingly led to a great number of modifications. The second movement, for instance, the longest in the set, is now subtitled Twisted Scherzo instead of Diabolical Scherzo (although the French title remains unchanged because the French for 'twisted' is rather... derogatory ! The question remains whether 'diabolical' is less so, but we'll let that matter rest...), on account of the 'twisted' repeated sequence on pp.15-17 which was done, by the way, quite accidentally (a copy-paste error, which was retained on second thoughts after some corrections). The fourth movement now ends with a double coda, the original one having been replaced, but retained all the same, in the guise of an ossia, etc...
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TN-Bx Docks Flipped with Sonata 5 Title.jpg

Sketches and Drafts

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Jurabe (2016/1/25)

PDF typeset by composer
Jurabe (2016/1/25)

PDF typeset by composer
Jurabe (2016/1/25)

PDF typeset by composer
Jurabe (2016/1/25)

PDF typeset by composer
Jurabe (2016/1/25)

PDF typeset by composer
Jurabe (2016/1/25)

PDF typeset by composer
Jurabe (2016/2/8)

PDF typeset by composer
Jurabe (2016/4/15)

Publisher. Info. Julian Raoul Besset
Copyright
Misc. Notes Manuscript Contents : first page : p.2 of movement 1; second page : openings of movements 3 & 4; third page : opening of movement 5; fourth page : p.2 of movement 5. This series shows how the work advances, beginning with a traditionally manuscripted first page, which is then deciphered, printed out and tested on a given instrument, after which the remaining blank measures of the last printed page are used to continue the work in handwriting, and so on and so forth. Several similar procedures may be used for one passage. Movement 5 for example has been given the once-over a second time as is shown here with a fresh batch of corrections on pages 5, 6 & 7. Accordingly, the preliminary print for the last movement, is, thus far, more developed.

The final proofs represent an annotated selection of the 5 assembled movements comprising a number of handwritten corrections and indications for performance. The corrections are inserted on the same page when there is enough space or repositioned on to another page (not reproduced here) using a distinctive sign such as an arrow, double arrows, asterisk, etc... to avoid confusion, and added at once to the score for the same reason.

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PMLP661564-JRB Sonata 5 Preparatory MS 1-3-4.pdf
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General Information

Work Title Piano Sonata No.5
Alternative. Title Revival Sonata
Composer Besset, Julian Raoul
Movements/SectionsMov'ts/Sec's 4
Year/Date of CompositionY/D of Comp. 2016
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation piano

Misc. Comments

This work, subtitled A Revival Sonata (due to the composer's short but disquieting illness that preceded it), presents like the second Sonata, the preparatory stages of each of its 4 or 5 movements, but in a far more elaborate way. At the time of its inception, the composer was still unsure how his project would develop, especially as it was vying with other works in various stages of completion. The first movement presents the beginning of its printed second page together with its manuscripted continuation. The planned second movement was sketched before the others : its manuscript is momentarily mislaid, perhaps lost or wastepaperbasketed. Fragments 3 and 4 are representations of the opening measures in manuscript form. The handwriting (performed at the piano) is very bad, owing to the cumbersomeness of having to put pen or pencil to paper on a rickety piano stand after adopting a partially upright position. Consequently, the music is barely legible and muddled, so the composer himself was constrained to print the score out forthwith little by little before his spontaneous ideas evaporated. The last movement was finished in this way first, a reversed procedure which is due entirely to chance.