I have such a backlog of piano compositions to share with anyone who might want to listen, that I hope I’m not testing your patience. However, I want to get the music “out there”. I’ve already passed the age at which all 4 grandparents shuffled off, and am almost at my father’s age… So I want to make sure all the piano music was available so that it could disappear into obscurity on its own merits!
This Second Piano Sonata is a bit darker than the first and is a bit longer. It doesn’t tell a story as such, nor is it autobiographical. For those of you who want to listen but need some sort of image to help with this type of music, it maybe helpful to think of an abusive or disintegrating relationship, which by the 3rd movement starts to crawl out of the tunnel. With this in mind it doesn’t make for an overly pleasant listening experience, but it is a sonata and not music to be played in the supermarket to enhance the shopping experience!
Here is a piano sonata (in three movements). There’s an audio link for those who may want to listen, and the second lot of links is to download the written music for the many thousands who want to learn it and play it in concert halls all over the world. Each of the three movements is downloadable separately.
So here is the Piano Sonata, Opus Who-knows-what. Thanks
Octavia Pankhurst Gorring-Wilson had a mission in life. It was a calling; a vocation, if you wish. Octavia Pankhurst Gorring-Wilson was one of those relatively rare beings: a feminist musicologist. Her mission in life was to get banned every skerrick of music written in sonata form.
There was good reason for it. For too long Haydn, Mozart, Beethoven, and most composers since, had got away with blue murder. Not murder exactly; but they had disguised their misogynist bigotries in veils of invisibility.
Everything in sonata form – sonatas themselves, and most symphonies, concertos… – all followed the same course: they were designed for patriarchal subjugation and domestication of the feminine.
This may need a little explaining, but Octavia Pankhurst Gorring-Wilson delighted in explaining. A sonata has two tunes; each in its own key. The first tune is masculine and the second tune is feminine. BUT by the end of the sonata the feminine tune is in the same key as the male tune. The SHE has been vanquished. The female has been made to sing in the same key as the male. She has been made to stand henceforth at the kitchen sink. She has been cruelly subjugated by these composers who don’t and didn’t give a tiddlywink about women’s issues, but walk roughshod over the aspirations of half of society.
Octavia Pankhurst Gorring-Wilson was all for banning ALL music and starting again. Good luck, Octavia.