FMPNmBnr14

Ennis Fruhauf
Sonata in the Baroque Style
for  Carillon   (Keyboard or Harp)
I.    Preludio
II.   Aria  and  Trio;  Recitativo
III.  Finale

 (13 pages)

Notes

         A Sonata in the Baroque Style for Carillon [or Harp] is a work in three movements, the first of which is a  preludio in common (4/4) meter. Musical signposts guide the performer through an optional repeat of the first section, and then in the second section a return to the beginning is indicated, followed by a jump to the concluding coda.  The second movement, Aria and Trio, presents an ornamented melody of seven phrases, each one repeated in echo. A contrasting trio intervenes, offering intricate and modulatory chromaticisms, with the aria returning without repeats to complete out a rounded binary structure.

        Following a brief and expressive recitativo that links the second and third movements, the concluding Finale presents the sectional contrasts inherent in a rondo. A refrain in compound meter wavers between 3/4 and 6/8, then a transition leads to the first couplet. The returning refrain cedes again to a second couplet – one that is extremely chromatic and in a new meter.   Following a final restatement of the refrain, a concluding codetta sounds out the last chords of the movement.

       
Sonata in the Baroque Style was created for a large carillon, with inclusive use of bells below the traditional tenor C bourdon of a typical four-octave instrument.  The sonata's overall manner and harmonic language is a mixture in equal parts of Baroque and Rococo influences, in spite of its titled implications.  In keeping with period practice tradition, few interpretive instructions have been provided.   A sensitive realization of the work will include the use of flexible tempos, varying dynamic levels and a wide range of shading of touches.


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