Piano Sonata No.9 (Besset, Julian Raoul)

Contents

Performances

Recordings

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Synthesized/MIDI

MP3 file (audio)
Jurabe (2018/12/20)

Performers Composer
Publisher Info. Composer, 2018.
Copyright
Misc. Notes Processed with Garritan CFX Concert Grand (contemporary version for the right hand, classical for the left)
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Sheet Music

Scores

PDF typeset by composer
Jurabe (2018/12/20)

PDF typeset by composer
Jurabe (2018/12/20)

Publisher. Info. Julian Raoul Besset, 2018.
Copyright
Misc. Notes These scans are for movement no.4 pp.17, 18 (2), 20, 21, 22, plus a medley page. The two pages 18 show how the composer drives his works forward. The new piece is sketched on a couple of blank staves and printed out, leaving the bottom staves blank, which are then sketched out, reprinted, and so on. After which, corrections are entered, after performing the passages and listening to the end audio result. In order to save paper (wishful thinking !), the pages are usually filled up, and mnemonic marks are occasionally necessary to remember which already used but incomplete page is employed to continue the finished page. The medley page 7 bears 2 such marks, one of which carries on from page 5. Once this preparatory work is done, the entire movement or piece is reprinted for a last verification.
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General Information

Work Title Piano Sonata No.9
Alternative. Title
Composer Besset, Julian Raoul
I-Catalogue NumberI-Cat. No. IJB 101
Movements/SectionsMov'ts/Sec's 5 movements:
  1. Parkour, pp.1-6
  2. Doloroso, pp.7-11
  3. Laying back, pp.11-16
  4. Tourniquets, pp.16-24
  5. Stèle, pp.25-29
Year/Date of CompositionY/D of Comp. 2018
First Publication. 2018
Composer Time PeriodComp. Period Modern
Piece Style Early 20th century
Instrumentation piano

Misc. Comments

Contrary to the two previous piano sonatas, this one combines all the (shorter) movements in a single edition. Special care has been taken to enter interpretive markings for the audio rendering, but there is very little slurring. Measure numbering is continuous. The latest version of Finale (v.26) has been used. In order to differentiate better between the right and left hands, a separate voice is assigned to each, which explains the doubling of expression marks and their occasional divergences.