Piano Sonata #16 in A minor - Rondo Pastorale
The "Piano Sonata #16 in A minor" by James Domine subtitled "Rondo Pastorale" is as the title suggests a tripartite Rondo form. The first of three moods is an Italian style Tarantella marked Vivace in 6/8 time. The second section is a rustic Pastorale in triple meter, suggestive of a folk-song that is swapped around between the major and minor mode like a game of tag. The third part is also in the nature of a Pastorale, this time transposed to the Phrygian modality based on F in which the drone of an imaginary bagpipe in the lower register creates a rustic atmosphere that transports us to harmonic regions not hitherto explored. The return of the first Pastoral leads inexorably back to a recapitulation of the principal Tarantella theme bringing the Sonata to a lively and spirited conclusion.
The "Piano Sonata #16 in A minor" by James Domine subtitled "Rondo Pastorale" is as the title suggests a tripartite Rondo form. The first of three moods is an Italian style Tarantella marked Vivace in 6/8 time. The second section is a rustic Pastorale in triple meter, suggestive of a folk-song that is swapped around between the major and minor mode like a game of tag. The third part is also in the nature of a Pastorale, this time transposed to the Phrygian modality based on F in which the drone of an imaginary bagpipe in the lower register creates a rustic atmosphere that transports us to harmonic regions not hitherto explored. The return of the first Pastoral leads inexorably back to a recapitulation of the principal Tarantella theme bringing the Sonata to a lively and spirited conclusion.
The "Piano Sonata #16 in A minor" by James Domine subtitled "Rondo Pastorale" is as the title suggests a tripartite Rondo form. The first of three moods is an Italian style Tarantella marked Vivace in 6/8 time. The second section is a rustic Pastorale in triple meter, suggestive of a folk-song that is swapped around between the major and minor mode like a game of tag. The third part is also in the nature of a Pastorale, this time transposed to the Phrygian modality based on F in which the drone of an imaginary bagpipe in the lower register creates a rustic atmosphere that transports us to harmonic regions not hitherto explored. The return of the first Pastoral leads inexorably back to a recapitulation of the principal Tarantella theme bringing the Sonata to a lively and spirited conclusion.