Piano Sonata

1- Moderato

2- Adagio-Intermezzo

3- Andante

4- Presto-Prestissimo

In this composition the Fibonacci sequence (2:3:5:8:13:21:34 etc.) plays an important role. This sequence is applied to different levels:

- the proportions of the four movements and the tempi:

Moderato- crotchet =90, Adagio- quaver =72 (or crotchet=144), Andante- crotchet =54, and Presto/ Prestissimo- crotchet = 144/218

- the bar proportions: 2/8:3/8:5/8 etc.

- the rhythm, i.e. note lengths

Some exceptions aside, the four movements consist of equal amounts of measures. Because the larger measure units (34/8 and 55/8) were impractical to read, especially for the performer, these bars are subdivided into 4/4-bars.

Each original measure unit is individually recognised by a distinct characteristic such as slow melodic lines, fast ascending, descending or contrapuntal motions, chord repetitions, ornaments such as trills and grace notes, and, mainly in the last two movements, stylistic quotations that provide the work with an eclectic surface. Since it was added later, the Presto introducing   the Prestissimo in the last movement, drops out of the strict form   based on the Fibonacci sequence.

The determination of pitch is realised in a strictly serial way throughout the   composition. The point of departure is a four-tone motif   of E-F-G-A# that is treated as a series. This motif can be heard in the opening bars of the sonata. Each note of this motif forms the foundation of each movement (for example E is the central note of the Moderato , and motif-note G is very recognisable in   the Andante ). Attached to each of the four notes are chromatic seven-tone series. To each of the seven notes of each of these series, again, seven-tone (micro) series are connected. Except for the regular chord repetitions, in the Adagio , the rhythm and register are strictly determined. The third movement and particularly the fourth, with all its glissandos and clusters, are composed more freely around the serial working method.