Sonata-Allegro in F Minor ("Complexity Within") (MWSC1)

Uploaded on Oct 28, 2017

Sonata-allegros can be sprawling as all get-out--Franz Liszt's Sonata in B Minor, S.178 is one continuous sonata-allegro that theorists arguably split into multiple movements anyway, and Sergei Lyapunov's Piano Sonata in F Minor, Op. 27 is in a similar camp.

But, as far as I can tell, no one besides me has ever written a sonata-allegro with an entire scherzo and trio in its development.

So how many movements long do you think this is?

As befits a scherzo and trio nestled in the development of a sonata-allegro, the scherzo proper is based on the first theme group of the exposition, while the trio is based on the second theme group. While the exposition's version of the first theme group is more stately and its version of the second theme group is surlier and more energetic, the scherzo and trio's versions switch roles--the scherzo proper is rapid and assertive, while the trio is calm and pastoral.

Please note that all fermatas are optional. You can even make Bar 465 shorter than notated! This piece's Musescore performance effectively does, anyway.

I'm not a fan of how Musescore plays back this piece's trills. I wish there were more notes instead of the slight pauses the playback puts in. "Baroque" trills mitigate this problem but don't eliminate it entirely.

In Bars 405-406, I probably ripped the Db-Db-Db-C motive from the 1st movement of Ludwig van Beethoven's Appassionata Sonata. Man, I must be influenced by that piece.

In the meantime, Bars 170-179 sound similar to the last movement of Robert Schumann's Faschingsschwank aus Wien, and Bars 186-196 are harmonically similar to a passage in the 2nd movement of Beethoven's Piano Sonata No. 22 in F major, Op. 54.

It's close enough to Halloween (at the time this was published) that perhaps we can think of this piece in Halloween terms--maybe it starts dressing like a pirate (and succeeding, to its surprise) in the scherzo proper. The coda definitely starts recalling the frenzy of the scherzo proper and turning into a demonic tarantella (although the last 3 bars plunge the piece right down to Earth).

I've now entered this into the Musescorers With Superpowers Contest 1 (https://musescore.com/groups/supermusers/discuss/4862758)!

Exposition 1st Theme: Bars 1-14
E. Transition: Bars 15-30
E. 2nd Theme: Bars 31-46
E. Codetta: Bars 47-51
Development Interlude 1: Bars 52-53
D. Scherzo Proper: Bars 54-137
D. Trio: Bars 138-305
D. Scherzo Proper Reprise: Bars 306-388
D. Interlude 2: Bars 389-403
D. Dominant Prep: Bars 404-407
Recapitulation 1st Theme: Bars 408-421
R. Transition: Bars 422-437
R. 2nd Theme: Bars 438-453
R. Codetta: Bars 454-455
R. Coda: Bars 456-468)

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Pages 16
Duration 07:48
Measures 468
Key signature 4 flats
Parts 1
Part names Piano
Privacy Everyone can see this score
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I love how much energy there is in bars 1-14. Going to have to analyze this more closely later :)
Brilliant! Hopefully I could compose like you one day...
I quite enjoy it. I wish I had enough musical theory knowledge to write sonatas. I have the ideas, just not the form and how to make it work. You seem to know it quite well. Well done.
The dotted eighth and sixteen note motif are so wonderfully infectious. The contrast with the staccato notes in the development is perfectly placed. Very well done.
I didn't attempt to analyse, I just allowed myself to be swept away by it. An excellent and impetuous score.