Banshchikov G. Sonatas for piano

The five piano sonatas by Guennady Banshchikov are united by one bind for the first time. Here is the opportunity of following the composer's creative evolution during the thirty years: from the emotional openness of the First sonata to the deep obscure dramaturgy of the Fifth one.

As to my own perception of these five sonatas, I would have constructed the one whole cycle, i. e. the «sonata allegro» with its five main stages (principal and subordinate subjects of the exposition, elaboration, principal and subordinate subjects of the reprise). Thus the romantic impulsive First Sonata (1968) correlates with the restraint Second one (1973) the way the principal and subordinate subjects are connected in the exposition. The same alignment may be watched between the Fourth's (1988) slight irony and the Fifth's (1998) profound dramatic sphere. They seem to be given the functions of the reprisal principal and subordinate subjects in this comparative description. There may be watched the kind of wisdom laid in these two Sonatas, being rather customary for reprise.

Here comes the Third Sonata (1974) — the kind of elaborative section. This is usually the exact place of the composer's wit and inventiveness to be fully revealed. Banshchikov copes with this problem quite amply.

The composer considers any work to be done with both body and soul, otherwise it shouldn't be even started. He accepts complements, but without exhiliration: “What are they praisiong me for? Is it for mere conscientiousness?” Banshchikov is strict and dry while talking about his compositions: «a good opus», «a funny piece». He uses to express his admiration in a nutshell: “Reasonable composition”, “Professional work”...

Nina Sinyakova

Contents:

Sonata № 1 (Music text example)
Sonata № 2 (Music text example)
Sonata № 3 (Music text example)
Sonata № 4 (Music text example)
Sonata № 5 (Music text example)