Composer’s Note:

While the three movements of my piano sonata, composed in 2009, follow a traditional fast-slow-fast succession, customary narrative formal symmetry is absent. The first movement unfolds contrasting episodes, some predominately lyrical and others mainly rhythmic and percussive. The second movement focuses on three durations as their relationships inevitably change, intensified through contrasted pitch, intensity and timbre. Straightforward “direction” is avoided until the middle of the last movement, which projects a dramatic denouement and a sudden, humorous closure.