At the first glance of the title, mentioning ‘fantasia’ to characterize the piece, we may speculate that this is a sonata without a specific form. This is partially true and partially false. Generally, it is true that the sonata throughout displays a feeling of improvisation. However, there are movements that seem like Kapustin had deliberately incorporated a sonata form, explicitly including the exposition, development, and recapitulation. The blend of a formatted movement and series of impromptus represents a mixture of jazz music and classical music. This is what’s unique about Kapustin’s compositions.
The sonata is comprised of four movements: vivace, largo, scherzo, and allegro molto. At the instance of playing the first movement, we can immediately signal a sense of improvisation, allowing us to nod that this is definitely a fantasia. However, regarding in its entirety, it does have a certain form, although not in a complete structure. It is ambiguous of where the exposition, development, and recapitulation exist. However, it is shown that a melodic theme is developed into a climax, which starts from the presto section at bar 79. The movement is grandeur, and possesses impressionist materials easily attributed to Debussy, development analogous to fugue writers of his contemporary, and melodic motif similar to that of French jazz style or J-pop.
Then it continues on with the second movement, relatively calm, starting with obscure notes which the listener finds difficult to comprehend. The melody proceeds, but still in mixture with notes that are a little cacophonous. However, this is what makes the movement peculiarly attractive; like how Prokofiev and Shostakovich’s music was popular despite their atonality and strangeness. Due to its emotions and drastic changes in the dynamics, this movement often gives a hint to rock music.
After a Moreno ending, the third movement relentlessly begins. The general impression is that vigor had returned. Fast tempo, constant impulse, and a variety of difficult and virtuosic techniques all add to this feeling. Taking into consideration of only the melody, this looks appropriate to be added in the climax of Korean dramas. The end of the movement probably exerts the most tension, accelerating in speed as if this is the final moment of the piece. Thinking about it, it is quite appropriate to end the piece with the third movement; there was an introductory first movement, emotional second movement, and a fast third movement. However, something seems to lack only with those movements. This is where the fourth comes in as the true finale.
While the third movement was quick but light at the same time, the fourth movement shows a drama as well. This is also where the sonata form is used. It is weighted the most throughout the sonata, and this is an unusual but precedential trait. For instance, noted composers like Beethoven had done this in his Hammerklavier sonata. There are instances of melodic sections that are in modern tunes, functioning as resting points of a full-blown music. The development consists of a walking bass line, acting as an intersection between classical and jazz music. The last part is the loudest of all areas of the sonata, and the distance of the notes all add to the tension in the true finale. This is how the music ends.
Kapustin is a minor talent whose music is worth hearing. His composition is probably fine with all audiences. Connoisseurs of classical music to ordinary pop listeners would all possibly favor it. This is due to one reason: his works are mixtures of classical and jazz music, to a whole new level.
Jaewon Shin (11)
The sonata is comprised of four movements: vivace, largo, scherzo, and allegro molto. At the instance of playing the first movement, we can immediately signal a sense of improvisation, allowing us to nod that this is definitely a fantasia. However, regarding in its entirety, it does have a certain form, although not in a complete structure. It is ambiguous of where the exposition, development, and recapitulation exist. However, it is shown that a melodic theme is developed into a climax, which starts from the presto section at bar 79. The movement is grandeur, and possesses impressionist materials easily attributed to Debussy, development analogous to fugue writers of his contemporary, and melodic motif similar to that of French jazz style or J-pop.
Then it continues on with the second movement, relatively calm, starting with obscure notes which the listener finds difficult to comprehend. The melody proceeds, but still in mixture with notes that are a little cacophonous. However, this is what makes the movement peculiarly attractive; like how Prokofiev and Shostakovich’s music was popular despite their atonality and strangeness. Due to its emotions and drastic changes in the dynamics, this movement often gives a hint to rock music.
After a Moreno ending, the third movement relentlessly begins. The general impression is that vigor had returned. Fast tempo, constant impulse, and a variety of difficult and virtuosic techniques all add to this feeling. Taking into consideration of only the melody, this looks appropriate to be added in the climax of Korean dramas. The end of the movement probably exerts the most tension, accelerating in speed as if this is the final moment of the piece. Thinking about it, it is quite appropriate to end the piece with the third movement; there was an introductory first movement, emotional second movement, and a fast third movement. However, something seems to lack only with those movements. This is where the fourth comes in as the true finale.
While the third movement was quick but light at the same time, the fourth movement shows a drama as well. This is also where the sonata form is used. It is weighted the most throughout the sonata, and this is an unusual but precedential trait. For instance, noted composers like Beethoven had done this in his Hammerklavier sonata. There are instances of melodic sections that are in modern tunes, functioning as resting points of a full-blown music. The development consists of a walking bass line, acting as an intersection between classical and jazz music. The last part is the loudest of all areas of the sonata, and the distance of the notes all add to the tension in the true finale. This is how the music ends.
Kapustin is a minor talent whose music is worth hearing. His composition is probably fine with all audiences. Connoisseurs of classical music to ordinary pop listeners would all possibly favor it. This is due to one reason: his works are mixtures of classical and jazz music, to a whole new level.
Jaewon Shin (11)