Boosey & Hawkes
What is Sonata Form? Two contrasting themes presented, the conflict and harmony between them and their development, the thematic-motivic working out, Thesis-Antithesis-Synthesis dialectics, Beethoven and Hegel, and so many other things could be mentioned. However, at least to my ears, Sonata Form’s essence lies in its experimentation with harmonic direction and momentum, and this is the reason why such an old musical form, which has been inherited and developed by countless composers, remains valid to this day.
Winter Sonata is a study and homage to these experiments with musical form, especially as heard in Beethoven's sonatas. This piece, which constantly moves between tonality and atonality, strongly implies harmonic direction and tonality, even when it achieves its highest level of dissonance and crosses the frontiers of atonality.
As is customary in a sonata, the piece is constructed from two themes: the first, the winter theme, and the second, the spring theme. In the winter theme, two layers get presented by the piano and the violin. The piano layer is composed with the very Beethovenian notes of G, A, B, and C, starting from the dominant note G in C major-minor, passing through the leading note B, and resolving to the tonic note C. This line, in conjunction with another theme presented by the violin (G-F#-Eb-F natural), builds four chords that suggest the dual tonalities of C minor and Eb minor. The intervallic relationships within these four chords, together with the motifs presented in the violin and piano, drive the first section forward, gradually developing the music in a more atonal manner, increasing the dissonance as the section progresses.
After a short climax, the second, spring theme emerges, showing a complete contrast to the first. This extremely lyrical section, rich in melodic and harmonic writing, even naïve in its quality, begins in F major (the key of Beethoven’s Violin Sonata No. 5, the Spring Sonata) and progresses through flat keys, developed along with endless melodic, harmonic modulations. However, the harmonic mixture from the piano (which is obviously from Beethoven’s music) subtly introduces small moments of unease and tension into this dream-like spring theme.
The development section is divided into two large sections, each based on the winter and spring themes. The first section takes the winter theme and forms a character variation, experimenting with the combinations of extended techniques and harmonic colourations. The second section is a twisted, almost mocking(!) parody of Beethoven, with harmonic sequences, key changes, functional harmony, and harmonic mixtures—all presented in extreme forms. After seemingly endless repetitions, the material ultimately destroys itself, leading to the recapitulation. Following a brief repetition of the exposition, the coda emerges back into tonality, but this time, in F-sharp major which is a full tritone away from the opening tonality of C. In an almost frantically hopeful, even manic atmosphere, the piece concludes with a strong reaffirmation of the tonic chord.
Winter Sonata was originally only a working title. I attributed it to the piece as a joke while writing during the dark London winter. However, as the idea of the harmonic contrast between the winter and spring themes and the atonality-tonality context developed, I realised it was a title that truly represented the work. Composers are also creatures of their times. The gloomy winter weather, and the horrific news I was hearing reported at the time, deeply influenced me as I composed the piece. Outside my studio window stands a big sycamore tree. A few years ago, during the spring of the pandemic, a pair of magpies built a large nest in its branches. Since then, each year, different magpies have come and repaired the old nest to create their own new home. Whilst writing this piece, I waited for spring and for the magpies to appear. And now as the piece is completed, the magpies have returned once again. It is often in such small things that we find hope.
Donghoon Shin, 2025
Reproduction Rights
This note can be reproduced in concert programmes with a credit to the composer.