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My second sonata for accordion ‘Black Birds’ was written in 1990 on the initiative of Marjut Tynkkynen and inspired by the first sonata. In this second sonata I have tried above all to explore the accordion world of timbre. Technically it again taxes the performer to the extremes, demanding the utmost sensitivity and a sovereign command of the instrument. In seeking new vistas on the world of timbre I resorted not so much to special effects, which are in fact somewhat limited in number, as to chordal effects and the combination of various types of structure. Each of the five movements in the sonata was inspired by bird song — not that of any specific species, for the bird song in this work is the abstract twittering of the imagination and dream. At the same time it is the psychological bird song of the workings of the mind. To give an example: the fifth movement ‘Black Birds’ begins by creating a despondent, silent soulscape that is then made all the more despairing by the clear, simple chirping of a bird. The initial world is no longer capable of pulling itself together, it is irrevocably shattered. The first two movements follow on from one another without a break, as do the last three movements. Marjut Tynkkynen gave the first performance of the second sonata at the Sata-Häme Accordion Festival at Ikaalinen on June 8, 1991. I have dedicated both the first and the second sonata to Marjut Tynkkynen. © Kalevi Aho (translated by © Susan Sinisalo) Toinen harmonikkasonaattini ’Mustat linnut’ on sävelletty vuonna 1990 Marjut Tynkkysen aloitteesta ja samalla ensimmäisen sonaatin innoittamana. Toisessa sonaatissa olen halunnut tutkia ennen kaikkea harmonikan soinnillisia mahdollisuuksia. Myös tämä sonaatti on esityksellisesti hyvin vaativa – teos edellyttää tulkitsijalta suurta herkkyyttä ja oman instrumentin täydellistä tuntemusta ja hallintaa. Harmonikan uusia sointimaailmoja etsiessäni en turvautunut niinkään instrumentin soinnillisiin erityisefekteihin, joita on itse asiassa vain melko rajattu määrä, vaan ratkaisevampia ovat olleet soinnunkäytölliset keinot ja erilaisten struktuurityyppien yhdisteleminen. Sonaatin jokaisessa viidessä osassa on ollut lähtökohtana linnun laulu – ei jonkin konkreettisen lintulajin, vaan teoksen linnunlaulu on abstrahoitua mielikuvituksen ja unen lintujen liverrystä. Samalla se on mielenliikkeiden psykologista linnunlaulua. Esimerkiksi viidennessä osassa ’Mustat linnut’ luodaan aluksi alakuloinen, hiljainen sielunmaisema. Tähän surumieliseen maailmaan kantautuva kirkas, yksinkertainen linnun liverrys muuttaa tunnelman kuitenkin epätoivoiseksi. Alun maailma ei enää kykene eheytymään, se on peruuttamattomasti särkynyt. Sävellyksen kaksi ensimmäistä osaa on sävelletty tauotta yhteen; samoin ilman taukoa soitetaan kolme viimeistä osaa. Marjut Tynkkynen kantaesitti 2. sonaatin Ikaalisten Sata-Häme soi -musiikkijuhlilla 8.6.1991. Olen omistanut sekä ensimmäisen että toisen sonaatin Marjut Tynkkyselle. © Kalevi Aho

Year of composing

Arranger

Movements

Availability

Abbreviation	Instrument
Woodwind
acl	alto clarinet
afl	alto flute
arec	alto recorder
asax	alto saxophone
barsax	baritone saxophone
barhn	baritone horn
bcl	bass clarinet
bfl	bass flute
bob	bass oboe
bsax	bass saxophone
bsn	bassoon
cbsn	contrabassoon
cl	clarinet
ehn	English horn
fl	flute
hn	French horn
ob	oboe
pic	piccolo
rec	recorder
sax	saxophone
srec	soprano recorder
ssax	soprano saxophone
trec	tenor recorder
tsax	tenor saxophone
Brass
ahn	alto horn
atrb	altotrombone
barhn	baritone horn
btrb	bass trombone
cornet	cornet
euph	euphonium
fhn	flugelhorn
hn	French horn
tba	tuuba
thn	tenor horn
trb	trombone
trp	trumpet
Percussion
dr	drums
glock	glockenspiel
mar	marimba
perc	percussion
timp	timpani
vibr	vibraphone
xyl	xylophone
Strings
db	double bass
gamba	viola da gamba
str	strings
vla	viola
vlc	cello
vln	violin
Other
acc	accordion
cel	celesta
cemb	harpsichord
chords	chords
elbas	electric bass
elg	electric guitar
elorg	electric organ
elpno	electric piano
guit	guitar
harm	harmonium
hca	harmonica
hp	harp
instr	instrument
kantele	kantele
keyb	keyboard
live electr	live electronics
mand	mandolin
mel	melody
org	organ
pno	piano
synth	synthesizer
tape	tape
Vocal
alto	alto
baryt	baritone
basso	bass voice
ch	choir
chc	childrens choir
chf	female choir
chm	male choir
chx	mixed choir
cten	countertenor
mezzo	mezzo-soprano
sopr	soprano
speaker	speaker
ten	tenor
voc	vocal

Symphony orchestra
2222 4331 11 1, str = 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, one other percussionist, harp and strings
Wind band
2252 3 423 21212 3 = 2 flutes, 2 oboes, 5 clarinets, 2 bassoons - 3 saxophones - 4 French horns, 2 trumpets, 3 trombones - 2 cornets, alto horn, 2 tenor horns, baritone horn, 2 tubas - 3 percussionists
Big band
221 4 4, pno, guit, db, dr = 2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, piano, guitar, double bass, drums
Additional codes
+	fl+pic = flutist doubles on piccolo
/	pno/org = can be played on either piano or organ
lib	ad libitum
obl	obligato
str	str: 65432 = specified number of string players
str min	str min: 65432 = at least 65432
str max	str max: 65432 = not more than 65432
solo	vln solo = violin is the solo instrument in a work not obviously for solo violin

Sonata for Accordion No. 2