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Having composed the first movement I realised that I may have been influenced by the way Leonin starts his organum with a kind of appoggiature (not that this term is probably appropriate in music from that age). I then decided to use other composers from that time as starting points for the other movements. The second movement is based on a song "Can vei la lauzeta" by Bernart de Ventadorn. The song is heard through several reinterpretations/misinterpretations. First the performer on a recording I have has interpreted it (the original notation for instance has no indication as to rhythm). Secondly I will have made differences/mistakes in transcribing the song aurally from the recording. Thirdly I have introduced further differences in simplifying my initial and sometimes over complicated and fussy notation. And fourthly reworking it I have accentuate the aspects of it that particularly appeal to me. The third movement takes the composer Perotin’s four part organa as the starting point. Here I have just tried to express the sheer raw energy I hear in these works. Of course in some respect I have done Perotin a grave injustice in that his works are actually much more sophisticated than my piece.
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Reviews of Piano Sonata No. 2
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