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Nisula Mikko: Sonata n.o 1 "Fantasies for accordion op. 17, 2003 (revised 2012)
My first accordion sonata (’Fantasies’), op. 17, was completed in the beginning of 2004 and is stylistically situated somewhere between the Russian bayan classics and Finnish modernism of the last few decades. Russian accordion music emerges, among other things, at the large culminating points, where massive chord structures are used. Other typically Russian stylistic features are the colouristic effects in the high or low registers, found, for example, in the fingered tremolos and the sections written only for the bass clef in the slow middle part of the sonata.
Influences from Finnish contemporary music are heard in the chromatic figures of the introduction and the main theme of the sonata, Allegro volando (bb. 16–48). The playful subsidiary theme flows in tempo Allegretto e giocoso (bb. 49–75); thereafter the development begins with Allegro come prima (bb. 76–117), already before the organ-like concluding theme (bb. 118–141), which actually marks the culmination of the exposition. The slow middle part of the sonata, Adagio e espressivo (bb. 142–173), includes new material. However, immediately after that new variations of the main and subsidiary themes are heard, Vivace e energico (a fugato section, bb. 174–207), which continues the development, yet also starts the free recapitulation of the sonata. After certain dramatic turns the Andante nobile section (bb. 255–270) brings the concluding theme and the entire composition to its culmination. On the whole, the form of the composition is a so-called augmented sonata form in one movement, whose paragon is found in the B minor sonata by Franz Liszt.
My first sonata is dedicated to the accordion artist Ari Lehtonen, who gave the premiere in Helsinki, on 16 January 2005.
New publication!
M186
ISMN 979–0-55003-213-2
Sonata no.1 –’Fantasies’ for accordion
My first accordion sonata (’Fantasies’), op. 17, was completed in the beginning of 2004 and is stylistically situated somewhere between the Russian bayan classics and Finnish modernism of the last few decades. Russian accordion music emerges, among other things, at the large culminating points, where massive chord structures are used. Other typically Russian stylistic features are the colouristic effects in the high or low registers, found, for example, in the fingered tremolos and the sections written only for the bass clef in the slow middle part of the sonata.
Influences from Finnish contemporary music are heard in the chromatic figures of the introduction and the main theme of the sonata, Allegro volando (bb. 16–48). The playful subsidiary theme flows in tempo Allegretto e giocoso (bb. 49–75); thereafter the development begins with Allegro come prima (bb. 76–117), already before the organ-like concluding theme (bb. 118–141), which actually marks the culmination of the exposition. The slow middle part of the sonata, Adagio e espressivo (bb. 142–173), includes new material. However, immediately after that new variations of the main and subsidiary themes are heard, Vivace e energico (a fugato section, bb. 174–207), which continues the development, yet also starts the free recapitulation of the sonata. After certain dramatic turns the Andante nobile section (bb. 255–270) brings the concluding theme and the entire composition to its culmination. On the whole, the form of the composition is a so-called augmented sonata form in one movement, whose paragon is found in the B minor sonata by Franz Liszt.
My first sonata is dedicated to the accordion artist Ari Lehtonen, who gave the premiere in Helsinki, on 16 January 2005.
Modus Code:
M186
ISMN Code:
979–0-55003-213-2
Säveltäjä & tekijä:
Nisula Mikko