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SONATA

SONATA

 
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Printed Edition
Composer:Ridout, Alan (1934-1996)
Instrumentation:bn. pft.
Publisher Ref:E109
A three movement sonata, full of rhythmic interest and contrast within movements as well as between them.

Price: £12.95
Qty
Skill Level:C/D
Publisher:Emerson Edition Ltd
Year of Issue:1978
ISMN:M570401369
ISBN:none specified
By the time Alan Ridout had reached the age of twelve he had gained a distinction in Grade 8 piano and had written over a hundred works in a wide range of genres. At fifteen he joined the Guildhall School of Music to continue his piano studies and to learn conducting and composition, which became his main interest and took him to the Royal College of Music where he worked for two years with Gordon Jacob and a further two with Herbert Howells.

When he left the R.C.M. at the age of 20 a good number of his works had been performed, mainly at concerts of the Society for the Promotion of New Music. Ridout combined his budding career as a composer not only with teaching but also with continued study by exploring electronic and microtonal techniques in the Netherlands and, on his return, making a comprehensive study of early music with Professor Thurston Dart at Cambridge University.

By 1964 it was there that he was teaching, and at the University of London, and as professor of theory and composition at the Royal College of Music. His first university teaching post had been at Birmingham, also teaching at Oxford University and composition to musically gifted children. Illness brought an end to Alan Ridout's teaching career in 1990 but allowed him to concentrate on composition which he did until his death six years later.

The autograph score of his bassoon sonata is inscribed 'AR Canterbury 2 IV 72' although it was not published until 1978. The contrasting themes of the first movement are introduced with 18 bars 'ritmico' which lead into an 8 bar 'cantabile' melody before another rhythmic and staccato section is developed for some 40 bars. The cantabile theme returns at bar 70 with its rhythmic counterpart leading into a 2 bar bravura coda. The second movement is marked 'espressivo' throughout but there is a lot of semiquaver writing and rhythmic interest based on patterns established in the first movement. Although not marked as such, the piano part of the 6/8 Finale has the look of a march with most of the melodic interest in the bassoon, occasionally shared with the right hand of the piano. Again, rhythmic changes in the solo part enhance this movement, as they do the whole sonata, and contribute to its attractiveness and 'playability'.

  • I Ritmico
  • II Espressivo
  • III (Finale - March)


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