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Avner Dorman

Publisher: G. Schirmer

Piano Sonata No. 2 (2000)
G Schirmer Inc
Solo Keyboard(s)
Year Composed
12 Minutes

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Programme Note
Avner Dorman Piano Sonata No. 2 (2000)
I wrote my Piano Sonata No. 2 for Israeli pianist Einav Yarden. She premiered the piece at the 2001 Aviv Competitions in Israel and won both the top piano prize and the prize for performance of an Israeli composition. In both movements of the piece I tried to create a sense of improvisation, even though the music is fully notated. The first movement is of a lyrical nature. Its embellishments and exploration of colors grows out of the melodic line. In the first movement I imagine a pianist who begins to play a known piece but cannot remember it fully, and therefore, begins to improvise. By contrast, the second movement is fast and rhythmically driven. Its quasi-improvisatory sections are more similar to a Jazz pianist showing off her technical and musical abilities over a driven rhythmic texture. The second movement is inspired by Art Tatum’s incredible pianism, as well as by the works of Olivier Messiaen and Conlon Nancarrow.

—Avner Dorman

(Ofra Yitzhaki analyzes Piano Sonata No.2 in her Doctorate Dissertation: Israeli piano music after 1985: analysis and comparison in historical perspective).

Sample Pages

  • Soloist(s)
    Eliran Avni, piano
  • 01 AUG 2009
    New Lebanon, NY
    Tannery Pond
    Alon Goldstein
  • 25 JUL 2009
    New York, NY
    New York International Keyboard Festival
    Alon Goldstein
  • 11 JAN 2009
    Town Hall, New York, NY
    Alon Goldstein, piano
  • 13 JUL 2007
    Piano Sonata No. 2 World Premiere
    Fulton Performing Arts Center at The Overlake School, Redmond, CA
    Seattle Chamber Music Society
    Alon Goldstein, piano

Mr. Dorman’s work begins as a pianissimo, measured rumination, and quickly expands toward an assertive angularity, underpinned by lightly dissonant chords before falling back to its pianissimo origins. The movement oscillates between these extremes several times. That volatility is its attraction, but Mr. Dorman has it both ways: he closed the work with a single-mindedly direct, propulsive Presto with an almost Rachmaninoff-like muscularity and showiness. Mr. Goldstein reveled in its sharp-edged rhythms, dense chords and arching themes, and gave it an irresistible, powerhouse performance.
Allan Kozinn, New York Times,1/13/2009
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