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A native of New York City, Allen Brings received a Bachelor of Arts degree magna cum laude from Queens College and a Master of Arts degree from Columbia University, where he was a Mosenthal Fellow and a student of Otto Luening, and a doctorate in theory and composition from Boston University, where he was …
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Sonata da chiesa
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Instrumentation: solo cello
Composed: 1980
Duration: ca. 10 min.
Score: 9 pp.
Website: library.newmusicusa.org/allenbrings
Composed: 1980
Duration: ca. 10 min.
Score: 9 pp.
Website: library.newmusicusa.org/allenbrings
Sonata da Chiesa, Mvt 1
Sonata da Chiesa, Mvt. 4
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Though written in the present for the present, Sonata da chiesa cheerfully acknowledges its debt to the achievements of the principal composers of the last three centuries. If only for its keen awareness of its musical heritage, this work could only have been written in the twentieth century.
Its title refers to a type of chamber work, common in the Baroque Era (1600-1750), consisting of four movements that alternated slow and fast tempi. Although dance-based rhythms were not usually associated with these pieces, they were occasionally allowed to influence one or more of their movements. The second movement of Sonata da chiesa might be thought of then as a scherzo with rhythms faintly resembling those of the Baroque gigue or jig.
The first movement is based on a single theme which provides characteristics that suggest the bases for two succeeding but not very different themes. What is striking about this movement, however, is the rhythmic freedom with which it must be played. For this reason and because of its intense expressivity, it might remind the experienced listener of the accompanied recitative of Italian opera or the improvised cadenzas of the earliest solo concertos. Like most scherzi, the second movement is in ternary, that is, ABA, form with a light, rather playful section alternating with one that is more sustained and lyrical.
The third movement closely resembles the first but is based on a varied restatement and development of only one theme. In complete contrast the last movement is a vigorous, energetic working-out of a single two-part theme, the first part of which is a sharply attacked three-note motive, the second a series of rapid sixteenth-notes that lead to a restatement of the first motive.
Sonata da chiesa was completed in November, 1980 and is dedicated to Alexander Kouguell, who gave its first performance at Queens College on October 19, 1982 and has since been its most dedicated interpreter.
Its title refers to a type of chamber work, common in the Baroque Era (1600-1750), consisting of four movements that alternated slow and fast tempi. Although dance-based rhythms were not usually associated with these pieces, they were occasionally allowed to influence one or more of their movements. The second movement of Sonata da chiesa might be thought of then as a scherzo with rhythms faintly resembling those of the Baroque gigue or jig.
The first movement is based on a single theme which provides characteristics that suggest the bases for two succeeding but not very different themes. What is striking about this movement, however, is the rhythmic freedom with which it must be played. For this reason and because of its intense expressivity, it might remind the experienced listener of the accompanied recitative of Italian opera or the improvised cadenzas of the earliest solo concertos. Like most scherzi, the second movement is in ternary, that is, ABA, form with a light, rather playful section alternating with one that is more sustained and lyrical.
The third movement closely resembles the first but is based on a varied restatement and development of only one theme. In complete contrast the last movement is a vigorous, energetic working-out of a single two-part theme, the first part of which is a sharply attacked three-note motive, the second a series of rapid sixteenth-notes that lead to a restatement of the first motive.
Sonata da chiesa was completed in November, 1980 and is dedicated to Alexander Kouguell, who gave its first performance at Queens College on October 19, 1982 and has since been its most dedicated interpreter.
| Website: | http://amc.net/allenbrings |
| Email: | miramusic@aol.com |
