After leaving Oxford, Berkeley spent seven years (1927-1934) in Paris,where he studied composition with Nadia Boulanger. She disciplined his natural ear for melody and harmony through a rigorous study of counterpoint. Between the late 1930's and 1940's, his important major works including the Piano Sonata Op 20 (1941-1945), and works like Serenade for Strings in D Op12 (1939), The First Symphony Op16 (1940), and Divertimento Op18 (1943), Berkeley establised himself as one of the leading composers of his generation. Berkeley said that meeting Britten helped him understand certain elements of his own style regarding his French influences, allowing him to speak in his own voice with a musical integrity, and without loosing his refreshing charm, he also succeeded in extending his ability to write longer and more dramatic works.

The Sonata Op 20 is a large scale work for piano in four very contrasting movements, and it's Berkeley's most significant work for solo piano. It was written for Clifford Curzon, and was premiered by him at the Wigmore Hall in 1946. After the premiere, many performances were given by Colin Horsley, who then recorded it in 1959 under the close supervision of Berkeley himself, the structure of the work is loosely based on the traditional classical sonata format. Berkeley's former pupil, Malcolm Williamson stated that the Piano Sonata Op 20 was a landmark amongst British 20th century piano repertoire, saying "......the conception of the piano sonata is an absolutely faultless, stupefying, masterpiece, .......what more can I say than that! "

First movement
moderato - Poco meno mosso - Lento

The moderato, first movement is loosely cast in sonata form, but the development is organic rather than formal departing from a strict traditional structure almost immediately.The germ of thr entire four-movement work is presented in the first bars, it is like a fanfare in A, (E-C#-A-E) with a rising 6th which recurs elsewhere not only in this movement, but in the entire work.The rising 6th is associated with a variety of attractive textures, some of it gives an improvisatory character and effect.The second theme is more lyrical and dissonant. The themes are not repeated literally in the recapitulation, but are intimated by foreshortened elements of melody, rhythm and harmony.The movement ends quietly and enigmatically.

MP3→ "First movement"

　

Second movement
presto

The Presto second movement, in the "moto perpetuo"-like scherzo, begins with the rising 6th again. The chromatic melody is etched upon rapid figuration (motif-pattern), first in the treble, then in longer notes in the bass later. It is this rapid motif-pattern that re-appears at a pivotal moment in the last movement and is the means by which the music is driven towards the coda.

MP3→ "Second movement"

　

Third movement
Adagio

The Adagio in E minor is hauntingly beautiful with sensual harmonic shifts which create melodic and atmospheric perfection, this movement is emblematic of Berkeley at his best.

MP3→ "Third movement"

　

Fourth movement
Introduction-Allegro-Tempo del Introduzione-Allegro

The last movement, an introduction and allegro, is a "rondo", which is introduced by material reminiscent of the first movement, but in a transformed state, before developing into the rhythmic "rondo" theme. In the conclusion, the movement returns to the introduction (Tempo del Introduzione), but there is a pause for reflection before this happens. The entire body of this work ends with an assertive reminder of the core thematic motif of the piece.

MP3→ "Fourth movement"

　

Kumiko Ida　　August, 2005