Piano Sonata No 3 (8’30’’), composed Petts Wood, Kent, in 1968, differs from the composer’s four other piano sonatas in that it is based largely on a 12-note row and contains relatively little ‘tonal’ music. This stylistic change was the result of the studies the composer undertook with James Patten at Trinity College of Music in London. Like his first sonata, Piano Sonata No 3 falls into four brief movements; the first being about as long as the sum of the other three. 

Movement 1, marked lento, begins with a rising 12-note theme over a soft F natural pedal point, followed by its falling retrograde. These elements - row and retrograde- are then given detailed consideration. Although suggestions of tonality can be found throughout the sonata it is the retrograde version of the row that usually prevails. A short second theme, marked pigramente (lazily), also derived from the row, makes its appearance in bar 47. This leads to a bravura development section, followed by a short ‘tonal’ adaptation of the ‘retrograde’ theme marked tragico, now functioning as recapitulation. 

Movement 2 is marked adagio and sees the 12-note row turned into slow sonorous bell-like chords. 

Movement 3, marked scherzando, consists of a highly rhythmical version of the sonata’s (main) retrograde idea with a fleeting trio in the middle. This brief mercurial movement ends with a dramatic unison presto, the pianist’s hands separated by six octaves.  

Movement 4 has no descriptive marking and is in essence an epilogue made up of fragments of the sonata’s main ideas, with the ‘lazy’ pigramente second subject stated in full, followed by the retrograde theme stated in the piano’s lowest register. The sonata closes with shortened espressivo versions of row and retrograde played over an E natural rather than the opening F natural pedal point.

Noteworthy Performance: ISCM 2023 Jan Satler (pianist)