This organ sonata was written in the summer of 2018. It was commissioned by – and is dedicated to – the American composer and organist Carson Cooman.
Mr Cooman has won the gratitude of many contemporary composers of organ music by playing and promoting their music and commissioning new works. I, in particular, owe a large debt of gratitude for the attention and interest he has shown in my organ music. In general Mozart’s sonata structures favour thematic variation-development and contrasting thematic material over motivic-development (something far more characteristic of Beethoven) and these principles are emphasized in the first movement of this sonata. The classical discipline employed in the first movement is again employed in the third, whilst the second movement is neo-Baroque in spirit and texture.
The fourth movement embraces a wider stylistic range including gestures (especially rhythmic ones) more typical of the twentieth century.
In common with most of my organ music, this sonata is playable on a two-manual instrument with limited playing aids but players with larger instruments at their disposal should feel free to exploit the colours and registration facilities available on them to the full as they feel appropriate to the music. The governing principle behind registration choices should be the preservation of the clear lineal textures in the music.