SONATA FOR TWO PIANOS, Opus 9
FANTASY, Opus 15
TOCCATA, Opus 23
FANTASY, Opus 31
SUMMER INCIDENT, Opus 34B
A DUET DOZEN, Opus 61
VALSE BIZARRE, Opus 124
FOUR VIGNETTES, Opus 129
"SIX POEMES ARABES" by Daniel Francois Auber "OLD ABRAM BROWN" by Benjamin Britten MARCH, Opus 76, No. 1 by Robert Schumann "FESTIVAL TE DEUM" by Ralph Vaughan Williams "KING MINCLAUGAS' MASS" by Jeronimas Kacinskas "AT THE NAME OF JESUS" by Ralph Vaughan Williams "MESSE BASSE" by Gabriel Faure "ARIRANG" - KOREAN FOLK MELODY
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Copyright © 1996-2005
This work, written between June and September of 1953, was stimulated by a
competition for two-piano compositions organized by the Music Association
of the Public Library in Brookline, Massachusetts. It is a forceful composition
with the driving rhythms that are characteristic of the composer's
music in general. Although somewhat dissonant in its overall context, the
Scnata for Two Pianos contains many passages that are surprisingly mellifluous
in nature; this, combined with the interesting rhythmic activity, makes the
work a fairly easily assimilated contemporary composition.
In formal construction it is basically classical in nature, although (along
with many other 20th century composers who choose to use these forms) Mr.
Bavicchi has made his own adaptation of the original. For example, the first
movement (Allegro) is a rondo form, following the basic pattern of ABACA which
has fascinated composers for so long. In this-case, after each theme is pre-
sented, it is immediately varied to some extent, before a transition to the
next section begins. Concluding the movement is a brilliant coda which taxes.
the technique of the performers while creating its effect.
The second movement (Moderato) is a free adaptation of ternary, or three-part
form. The main theme is presented at the outset, accompanied only by some
distant dissonant sounds, followed by a bridge passage of developmental nature.
This leads to the theme fragmented and devcloped through a series of sections
separated by suddenly interrupting soft chords, the whole building to a strong
climax. The opening, and only theme reappears in a contrapuntal treatment,
dying away with overlapping fragments of itself. :
The final movement (Molto allegro) returns to rondo form and features a theme
which is related to the main theme in the first movement. After its bridge
passage leads to a contrasting theme of a ternary construction. The leading
to the second contrasting theme, which is immediately developed after its
presentation. The main theme again returns, this time in double canon, and the
work closes with another exciting coda which is fairly extended in length.
Instructions from Moriarty: "An ending so big that the piano will quiver for 3 minutes."
Arrangements of other compsers' works
Most recent revision, August, 2005