“Triptych” (Sonata Nr. 2) (1991) for piano

Three parts of the Triptych constitute a kind of emotional cycle starting with “Silence“, which in fact proves to be not merely a “lack of sounds” or “emptiness”. Rather, it contains a whole range of emotionally charged elements in accordance with the idea that there is no “real” silence, and whatever seems to be absolutely silent, might be a concealed scream.

In the second movement, “Discussion“, of a somewhat sarcastic character, composer tries to establish a dialogue with his great forerunners, and in the spirit of  neoclassic  Shostakovich-Hindemit-like Scherzando one feels a search after one’s own place in this “discussion”. The rhythmical pattern of the main theme is reminiscent of Rossini`s “William Tell” motive and in the development part some places from Beethoven’s sonatas and symphonies
might be guessed, though their use has no doubt much of a humorist or even ironic character.

The final part, “Prayer“, is the one bearing the most personal character in the cycle. A simple monody “growing” out of the lower register of each hand’s solo, is  striving to reach its most heights in a kind of one breath motion and is reminiscent of a Psalmists verse “From the depths I called You, o Lord” (Ps.130). Two short episodes having a “quasi a capella” character, intertwined into this development, constitute a surrender to the “heavenly verdict”.  Yet towards the end both times they lead to an explosion and an inner unwillingness to submit. After the last and the ultimate onslaught of the original motive in unison, the definitive breakdown occurs, whereupon the voices are again united in a small postscript, or an epitaph.
The emotional storm is gone, only a silent and pure Prayer remains.

(I.“Silence”- II.“Discussion”- III.“Prayer”) 

Performances:
Palais Wittgenstein, Duesseldorf, Germany 15.05.96,
Cultural Centre Jerusalem (Jewish festival 2003 (17.12.03)).

Publications: IMC

Sheet music samples: