Interview with William Milner
Program Notes:
Sonata for Two Cellos and Piano
dedicated to Cecylia Barczyk, Frances Borowsky, and Elizabeth Borowsky
This work will be premiered on Sunday, October 28, 2012 (7pm) at the International Cello Festival at Towson University, by Cecylia Barczyk (cello), Frances Borowsky (cello), and Elizabeth Borowsky (piano).
I. Introduction: Largo, ad libitum; Fugue; Adagio cantabile, allegro
II. Scherzo, allegro giocoso
III. Moderato
The Introduction of the first movement allows each instrument to enter, one by one, into a conversation-like texture, improvisatory and free in both tonality and tempo. This leads directly to the Fugue which contrasts with the preceding section with its more formal structure. The fugue form, or procedure, as some would explain, utilizes counterpoint and imitation, reaching its high state of popularity and perfection with Bach and Handel in the Baroque period. The first statement of the subject is given by Cello 1 in a tonality of A minor. Cello 2 then enters with the subject while Cello 1 is heard with the counter subject - but now the tonality is E minor. The piano then enters with the subject in B minor, which completes the first exposition. Now follows a short and freestyle episode. After a succession of several expositions and episodes the fugue concludes with a final exposition started by the piano at double the tempo, which brings the movement to conclusion.
The second movement is three-part form, ABA. The A section has the two cellos alternating and then dueting with the scherzo theme. The B section has the piano expounding on the repeated note idea but in a free-form, improvisatory manner. This is contrasted with the 2 cellos playing a quiet hymn-like song in the background. The return of the A scherzo idea rounds out the movement.
The third movement is in the more common sonata-allegro form. After a short piano introduction, the exposition has the two cellos state the first theme. A transition leads to a more lyrical second theme, heard first by the piano, then repeated by the cellos. The exposition closes with scale-like patterns joined by all three instruments. THe piano begins the development section with a jazzy, syncopated version of the first theme followed by all three players utilizing ideas from the first theme. The recapitulation begins with both cellos dueting the first theme. After a short transition, the second theme is heard again in shortened form. After a pause, the piano begins the closing section with a slow, pungent variation of the first four measures of the second theme followed by the two cellos in repetition, accelerating to the final chords.
I. Introduction: Largo, ad libitum; Fugue; Adagio cantabile, allegro
II. Scherzo, allegro giocoso
III. Moderato
The Introduction of the first movement allows each instrument to enter, one by one, into a conversation-like texture, improvisatory and free in both tonality and tempo. This leads directly to the Fugue which contrasts with the preceding section with its more formal structure. The fugue form, or procedure, as some would explain, utilizes counterpoint and imitation, reaching its high state of popularity and perfection with Bach and Handel in the Baroque period. The first statement of the subject is given by Cello 1 in a tonality of A minor. Cello 2 then enters with the subject while Cello 1 is heard with the counter subject - but now the tonality is E minor. The piano then enters with the subject in B minor, which completes the first exposition. Now follows a short and freestyle episode. After a succession of several expositions and episodes the fugue concludes with a final exposition started by the piano at double the tempo, which brings the movement to conclusion.
The second movement is three-part form, ABA. The A section has the two cellos alternating and then dueting with the scherzo theme. The B section has the piano expounding on the repeated note idea but in a free-form, improvisatory manner. This is contrasted with the 2 cellos playing a quiet hymn-like song in the background. The return of the A scherzo idea rounds out the movement.
The third movement is in the more common sonata-allegro form. After a short piano introduction, the exposition has the two cellos state the first theme. A transition leads to a more lyrical second theme, heard first by the piano, then repeated by the cellos. The exposition closes with scale-like patterns joined by all three instruments. THe piano begins the development section with a jazzy, syncopated version of the first theme followed by all three players utilizing ideas from the first theme. The recapitulation begins with both cellos dueting the first theme. After a short transition, the second theme is heard again in shortened form. After a pause, the piano begins the closing section with a slow, pungent variation of the first four measures of the second theme followed by the two cellos in repetition, accelerating to the final chords.
About the Composer
William Milner holds the degree of D.M.A. in Composition from the Peabody Conservatory of Music, the M.M. degree in Music Theory from Indiana University, and the B.M. degree in Public School Music from the Peabody Conservatory. Born in Detroit, Michigan in 1925, he came to Baltimore after high school to study with Nadia Boulanger at the Peabody. He served as an infantryman in Europe during World War II. After the war, he taught music in Baltimore City schools and later served as assistant supervisor of music. In 1983, Dr. Milner retired as professor and chairman of the music department of the Community College of Baltimore. He also served as choir director for the Beth T'filoh Congregation for 32 years, and while there, composed music for the synagogue service. Other compositions include the New Century March for symphonic band, Sonata for Flute, Fantasy on Jewish themes for viola and piano, and the opera Sweet River, composed for the Nation's bicentennial celebration in 1976.
