The Sonata for Saxophone and Piano was written in 1990 at the request of saxophonist Sieuwke van Berkum. I meant to write a substantial work for the combination Saxophone and Piano. Thus a work evolved which consisted of four movements. Because the workÕs length exceeded 35 minutes it turned out to be problematic in programming. In addition, I came to feel that the essence of the piece bringing out the melodic and dramatic possibilities of the saxophone- had been sufficiently expressed in the first two movements of the sonata. Therefore, the present version is an edited version in which only the first two movements survive, bringing back the duration of the piece to about 17 minutes, while keeping the intensity and drama of the original piece. The third movement has since been reworked into a separate piece, while the fourth movement has been abandoned completely.

Both movements highlight a specific aspect of the expressive capabilities of the saxophone:
In the first movement the saxophone introduces an expressive melody set against an softly murmuring, almost serene piano accompaniment. The melody slowly develops toward a gentle climax embedded in vibrant harmony, out of which a sparse, repeated accompaniment emerges. The following section of this movement brings a new melody in the sax and the piano against the austere background of the repeated accompaniment. Slowly the music develops, the accompaniment starts moving and the harmony starts modulating toward the initial melody. By the time the initial melody returns, the accompaniment has turned into a gyrating river of sound. This leads to a climax in which the pianoÕs deepest bass notes (which have been specially muted) function as a bass-drum. After this tumultuous episode, like a subsiding storm, things turn quickly back to where they came from. As if nothing happened, the opening melody returns in the same serene setting that marked the beginning of the movement. Slowly, the music dissipates, a few soft drum beats are heard against the saxophone holding a lone, soft, high pitch.

In the second movement both instruments seem to compete in virtuosity and power. The pounding rhythm of the onset of the movement lends the piece its stark character. Soon elements from the first movement are combined with new elements which pass at high speed. A rhapsodic, calmer middle section puts the same motives and gestures from the fast section in a different perspective, working once again toward a vibrant climax with long held notes, trills and tremolos. At the height of that climax, the opening statement suddenly returns in full force. With certainty and determination the movement works toward its bravura conclusion.