PIANO SONATA N° 1

IN F SHARP MINOR , Op. 3 (1989)

I.  Clima-Allegro deciso 

II.  Clima-Tango 

                    III.  Clima-Romanza-Culminación                         

PIANO SONATA N° 2

IN G SHARP MINOR , Op. 21 (1990)

I. Desesperado

II. Con bondad y amor

PIANO SONATA N° 3

IN E FLAT MINOR , Op. 24 (1999)

Adagio delicato assai - Vivace assai

PIANO SONATA N° 4

IN A MINOR «From the Americas» , Op. 26 (1999)

I. Andante nativo, muy sentido

II. Allegro con alma andina

PIANO SONATA N° 5

IN G MINOR «Andina», Op. 65 (2002)

I. Allegro incaico - Sereno

II. NOTTURNO. Allegretto andino

III. FINAL. Allegro quasi alla marcia - Allegro grazioso - Adagio

PIANO SONATA

IN D MINOR «The Colosseum» , without Opus (1986) *

I.Maestoso - Molto mosso e passionato

II.Moderato cantabile

III.Giocosissimamente - Assai piú tranquillo - Con fuoco - Grandioso

PIANO SONATA

IN D FLAT MAJOR «The hourglass» , without Opus (1988) *

I.Con bontá e amore (Var. Barocco-Classico-Romantico-Moderno)-Tempo iniziale

II.Canzonetta come a Napoli - Tremendo

 (*) youthful, not including in the work catalogue

Who has given to a look to is scores, she will be able easily to perceive my prelidección by this musical form.

Aside from the traditionalism that can be pretended in this sublime form, and always it was considered until half of the romanticism, that the great forms had more to be considered than smallest. On the other hand, however, the Sonatas was not generally a pretext to show the technical abilities of the pianista. In my Sonatas I wanted to integrate the form components, music, nationalism and virtuosity.

The Sonata No. 1 in F Sharp Minor was composed it to the seventeen years and was of a crucial importance for my race of composer: in her my process of transition is appraised towards the cultured music by Argentine roots that is consolidated totally in the Sonata No. 2 in G Sharp Minor. Ten years later, and with a conception of the very different harmony that the precedents were born the Sonata No. 3 in My smaller flat. In addition to the Argentine nationalism, I have dedicated the Sonata No. 4 in A Minor «from the Americas» to this continent, but with a vision native and next to the Argentinean. The Sonata No. 5 «Andean» in G Minor entirely is dedicated to the beautiful Argentine region of the andean plateau.

To notice which I have still not used the Sonata sort to evoke the music of the city of Buenos Aires, I have considered it, but, in precise instnte in that it began to elaborate the arisen ideas, always in the end it decided on another sort. Yes however I have used sonata-form for the allusive material to the tango in many compositions mine, but, never in a Piano Sonata.

Mauricio Annunziata

Barcelona, may 2002