Finally. I am now here to present one of the best pieces I have ever written. In fact, I have been wanting to present the Sonata No. 1 for some time as it is probably the biggest premier of a work I have ever had. The piece was commissioned by the Kansas City AGO for 2018 the National Convention as a piece that would work for both concert and church – namely a piece that is technically accessible to most players. If there has been a theme in my compositional career, it is writing technically accessible works.
I do not mean to downplay that either! Philosophically, it is really important that composers engage with all levels of technical ability and accessibility. On this blog I have shown works with modernist tendencies, especially the Evening Improvisations (which aren’t really works, but hey, I’m the one counting here), in contrast to, say, the Miniatures, which are meant to be used in all sorts of occasions and are generally accessible technically and aesthetically. But it is that last part that I feel I have honed well.
I have attempted to record this Sonata many, many times. I did record it at my former position at the Monastery, but the Moller there was in no condition to release it publicly. I tried several times at Duquesne’s Chapel, where I have been doing most of my recording lately, but failed to perform it well enough. I also tried at St. Paul Cathedral but the air conditioning there made the recording unusable. I also tried at the church I am currently employed at and there is a tiny air leak that also made the recording unusable. So, before Duquesne closed indefinitely, I was able to get in there and get the first three movements successfully recorded.
The first movement, Prelude, is meant to introduce the simple theme of the Sonata: sol-la-fi-sol. It isn’t really spelled out until the very end, right before the Chorale. Admittedly, I was using Duruflé’s Prelude, Chorale, and Variations on Veni Creator as a model for the beginning of this piece. Even to the point that they are both in D and begin with a similar flowing motif. I do feel that this piece is best when it is performed with the Chorale directly afterward – they are two peas in a pod, at least in my head. Though I do think it stands well by itself; Enjoy! (The score can be purchased through Selah Publishing here.)