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Piano sonata no 4, Opus 22 : quasi una fantasia in un unico movimento
No full textDigital copies were created from a selection of items in the original hard copy John Simon collection held in DOMUS in the Stellenbosch University Music Library.Note by composer: 'Piano Sonata No 4 (op.22) (8’25’’), composed in Walton-On-Thames in 1972, England, is in one continuous movement which falls into two sections, one relatively long, the other short.
The sonata commences with a brief rhythmical introduction that anticipates the work’s main theme marked appassionato e con molto espressivo. During the course of the work the melodic elements of this theme undergo many transformations. A jaunty second subject, marked ritmico, is introduced well into the exposition, followed by a brief ‘rounding-off’ theme. The development section sees the two main ideas contrasted, varied and combined. Both themes are recalled in the recapitulation, although in reverse order.
The second section, which follows without a pause, is marked largo and begins with a sextuplet figure in the right hand with gentle fragments of melody in the left. These fragments soon give way to an idea derived from the sonata’s second subject, the mood increasingly expressive, at times transcendental. This highly expressive mood is suddenly interrupted by the reappearance of the sonata’s rhythmical opening bars, followed by the ‘rounding off’ theme heard at the end of the first section’s exposition. The sonata closes gently with the main theme recalled in long semibreve notes over a G sharp pedal point.
Piano Sonata No 4 is probably the composer’s most brittle piano work, and, not surprisingly, has a decidedly quirky character.Score. 'Composed Walton-on-Thames, Surrey, 1972.
Piano sonata no 5, Opus 24
No full textDigital copies were created from a selection of items in the original hard copy John Simon collection held in DOMUS in the Stellenbosch University Music Library.Note by composer:
"Piano Sonata No 5 (op.24) (11’12’’) was written in Walton-On-Thames, Surrey, in 1973, and is in three movements marked 'Comodo', 'Largo e sostenuto' and 'Vigoroso'.
Movement 1’s main theme consists of a recurring semiquaver falling arpeggio idea (initially in E flat) with an ever-varying extension. This theme recurs throughout the movement. An expressive theme in C minor, in smaller notes and marked 'Meno mosso', is soon joined by the main theme now in diminution. This developmental dialogue between the two themes leads to the recapitulation, which commences with the original 'Comodo' marking. The movement ends with a recall of the valedictory C minor second subject.
The first movement has the character of a contrapuntal conversation, and has at times a syncopated, almost jazzy quality, helped along by dotted notes in the bass.
Movement 2 is a lyrical movement marked 'con molto sentimento'. It is made up of a main theme and two subordinate themes that recur and alternate (their markings are 'largo', 'adagio' and 'appassionato'). Towards the end of the movement a fragment of the main theme, marked 'grandioso', takes on a cadenza-like quality. The movement ends with the main theme followed by a bell-like extension that leads directly into the 'finale'.
Movement 3, marked 'Vigoroso', is a tempestuous monothematic movement in 'alla breve' time. The contrapuntal element, central to the first movement (whose main idea is recalled in bars 61 and 62), is once more brought to the fore. However, the forward momentum in here is infinitely more intense than in the first movement. The sonata ends with a fiery 'accelerando' climax.
By this stage Bach had become an important factor in the composer’s musical world, and this perhaps accounts for the sonata being essentially contrapuntal."Score. 'Composed Walton-on-Thames, Surrey, 1973.
Untitled
No full text295.H2.91.jpg created from original photograph in the [Van Wijk Rhenish Missionary Society Collection] held in the Manuscripts Section of the Stellenbosch Library and Information Service.Photograph of unknown woman
Dr. Carl Hugo Hahn
No full text295.H1.25.jpg created from original photograph in the [Van Wijk Rhenish Missionary Society Collection] held in the Manuscripts Section of the Stellenbosch Library and Information Service.Photograph of Dr. Carl Hugo Hahn
Mrs. Leibbrandt (Jan's wife)
No full text295.H1.58.jpg created from original photograph in the [Van Wijk Rhenish Missionary Society Collection] held in the Manuscripts Section of the Stellenbosch Library and Information Service.Photograph of Mrs Leibrandt (Jan's wife)
Frieda Biesenbach
No full text295.H3.2.jpg created from original photograph in the [Van Wijk Rhenish Missionary Society Collection] held in the Manuscripts Section of the Stellenbosch Library and Information Service.Photograph of Frieda Biesenbach
Church in Colesberg
No full text295.H2.68.jpg created from original photograph in the [Van Wijk Rhenish Missionary Society Collection] held in the Manuscripts Section of the Stellenbosch Library and Information Service.Photograph of a churh in Colesberg
Emmy Bekker
No full text295.H2.20.jpg created from original photograph in the [Van Wijk Rhenish Missionary Society Collection] held in the Manuscripts Section of the Stellenbosch Library and Information Service.Photograph of Emmy Bekker
Oom Jacob van Reenen
No full text295.H1.59.jpg created from original photograph in the [Van Wijk Rhenish Missionary Society Collection] held in the Manuscripts Section of the Stellenbosch Library and Information Service.Photograph of oom Jacob van Reenen
Isolde en Gertrud Hahn
No full text295.H2.63.jpg created from original photograph in the [Van Wijk Rhenish Missionary Society Collection] held in the Manuscripts Section of the Stellenbosch Library and Information Service.Photograph of Isolde and Gertrud Hahn, children of Prof. P.D. Hahn