For anyone interested, here is an additional analysis of mvt.4 of the sonata. This movement essentially is a synthesis of all the melodic and harmonic ideas of the previous three movements. 17:38 - The piano starts with a dominant pedal, anticipating the tonic pedal of the beginning that will eventually close the sonata. The theme is derived of the tritone fragment that opens the third movement and this melody in itself is a precursor of the first real theme of the rondo. Tritones, both as an interval and as correlation between tonalities will play a major role in this movement too. 17:52 - The B-flat major chord (napolitean sixth chord) resembles the first movement, where it had a major transitional and closing function. 18:01 - The first real theme of the rondo switches between a minor and c minor, again resembling the first movement, where Bosmans modulates to c minor in the first theme of the re-exposition. 18:11 - The whole tone chords and scales are scattered throughout all of the movements and have a transitional function. The first time they appeared was at the start of the development of the first movement, and both the scherzo and the intermezzo have similar whole tone passages. 18:32 - The always-rising quality of the second theme is reminiscent of the moderato theme in mvt.1. 18:53 - The first theme makes its entrance again (fragmented however), this time switching between G major and D-flat major (a tritone apart). 19:09 - The second theme recurs with whole tone qualities. At 19:19, we’ve finally moved a tritone away, into D-flat major. 19:26 - The first theme recurs. (Whole tone chords and scales at 19:31, 19:35 and onwards). 19:43 - These chords resemble the second movement, where they have the same transitional function. 19:48 - This passage in d-sharp minor is the heart of the movement. It is not so coincidentally in the key of d-sharp minor, a tritone apart from the home key of the sonata. 20:02 - The second theme of movement 1 reoccurs, adapted to the 5/4 time signature. 20:34 - A pedal note on A-flat, resembling the beginning of the rondo, prepares us for the return of the first theme at 20:54. This pedal note will descend, first to F-sharp at 21:54, then to F at 22:07 and finally to E again at 22:10, recalling the start of the movement. Note the brief re-entrance of theme 3 at 22:00. 22:23 - The B-flat major chord prepares us for the long dominant pedal that will bring us back to the beginning of the sonata. 22:45 - The long-awaited moderato theme makes its entrance again. The movement closes with a B-flat major chord, then an E-flat major chord, and lastly a tritone shift to an A major chord and thus concludes with two of the most important harmonic devices of the sonata.
Cette oeuvre est pour moi un chef-d'œuvre..une musique puissante qui ne peut laisser en rien indifférent...elle m'a emballée immédiatement. Tres belle interprétation. Je pense la connaitre par cœur maintenant ! 😂😂 mais heureusement qu'il y a youtube hein...sinon on n'en saurait rien ...Quelle honte ..
Hello! I have read your analysis and was wondering what period you would classify this as? I see Bosman wrote during the romantic period but this piece is more in an early 20th century timeframe. Would you consider this a romantic or post romantic work? Thank you!
00:00 - Movement I
09:24 - Movement II
14:00 - Movement III
17:38 - Movement IV
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For anyone interested, here is an additional analysis of mvt.4 of the sonata. This movement essentially is a synthesis of all the melodic and harmonic ideas of the previous three movements.
17:38 - The piano starts with a dominant pedal, anticipating the tonic pedal of the beginning that will eventually close the sonata. The theme is derived of the tritone fragment that opens the third movement and this melody in itself is a precursor of the first real theme of the rondo. Tritones, both as an interval and as correlation between tonalities will play a major role in this movement too.
17:52 - The B-flat major chord (napolitean sixth chord) resembles the first movement, where it had a major transitional and closing function.
18:01 - The first real theme of the rondo switches between a minor and c minor, again resembling the first movement, where Bosmans modulates to c minor in the first theme of the re-exposition.
18:11 - The whole tone chords and scales are scattered throughout all of the movements and have a transitional function. The first time they appeared was at the start of the development of the first movement, and both the scherzo and the intermezzo have similar whole tone passages.
18:32 - The always-rising quality of the second theme is reminiscent of the moderato theme in mvt.1.
18:53 - The first theme makes its entrance again (fragmented however), this time switching between G major and D-flat major (a tritone apart).
19:09 - The second theme recurs with whole tone qualities. At 19:19, we’ve finally moved a tritone away, into D-flat major.
19:26 - The first theme recurs. (Whole tone chords and scales at 19:31, 19:35 and onwards).
19:43 - These chords resemble the second movement, where they have the same transitional function.
19:48 - This passage in d-sharp minor is the heart of the movement. It is not so coincidentally in the key of d-sharp minor, a tritone apart from the home key of the sonata.
20:02 - The second theme of movement 1 reoccurs, adapted to the 5/4 time signature.
20:34 - A pedal note on A-flat, resembling the beginning of the rondo, prepares us for the return of the first theme at 20:54. This pedal note will descend, first to F-sharp at 21:54, then to F at 22:07 and finally to E again at 22:10, recalling the start of the movement. Note the brief re-entrance of theme 3 at 22:00.
22:23 - The B-flat major chord prepares us for the long dominant pedal that will bring us back to the beginning of the sonata.
22:45 - The long-awaited moderato theme makes its entrance again. The movement closes with a B-flat major chord, then an E-flat major chord, and lastly a tritone shift to an A major chord and thus concludes with two of the most important harmonic devices of the sonata.
This wonderful performance is unrivaled, and outclassing
This is a very powerful sonata. Thank you for introducing me to Henriette Bosmans, whose work I didn't know before.
So intense! What a masterpiece!
Wow, what a brilliant sonata. Really wonderful. I love it. Also very well played. Thanks!
D'un pouvoir extraordinaire! Masterful!
Une grande sonate merveilleusement interprétée!!
a masterpiece
Cette oeuvre est pour moi un chef-d'œuvre..une musique puissante qui ne peut laisser en rien indifférent...elle m'a emballée immédiatement. Tres belle interprétation. Je pense la connaitre par cœur maintenant ! 😂😂 mais heureusement qu'il y a youtube hein...sinon on n'en saurait rien ...Quelle honte ..
Bravo!
Great video!!!! I really liked this piece!
0:59
Het is een absoluut meesterwerk waar Lizst Brahms en Rachninoff trots op zouden zijn geweest
Rien à leur envier, en effet....
That subdivision in the beginning is incredibly wacky. Never seen anything like it
Nice
Only that ??
Hello! I have read your analysis and was wondering what period you would classify this as? I see Bosman wrote during the romantic period but this piece is more in an early 20th century timeframe. Would you consider this a romantic or post romantic work? Thank you!
prima
Great work! Who is the cellist?
Doris Hochscheid
Hello sewanee cellists