Sonata for violin and piano
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My Sonata for Violin and Piano was written to demonstrate the variety of twentieth-century compositional techniques I had learned while studying at Northern Illinois University. This work is far different from an earlier Violin sonata which I wrote in China; it sounded purely classical and traditional in the style of Beethoven, while the new work employs a dissonant and unconventional idiom. The work is cast in three movements. The first movement is in Sonata-Allegro form with a short introduction. The second movement is in ternary form. The third movement is constituted of several short sections with unpredictable and contrasting tempo changes. Free atonality is used throughout. Extended techniques are also employed in the violin part -- glissando, pizzicato, snap pizzicato, sul ponticello, mute, tremolo, harmonics, etc. -- which provide vivid sound effects for the work. In addition, the technique of idee fixe has been used. The opening theme reappears transformed in the third movement; the secondary theme is developed throughout the second movement and also is varied in the Moderato section of the third movement. Thus, these three movements are related to each other by the extensive use of first-movement themes. I believe this to be my finest work to date, and I am happy for it to stand as the representative work of my study at this university.