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Homage to H.M. King Rama IX

Nat Yontararak's Second Sonata (composed in 1999) brings out the virtuosity of the piano through Thai xylophone masterpiece.


- Allegro con Spirito (แสงทองส่องไทย)

- Adagio con espressione (ไผทอรุณเรือง)

- Allegro vivace (เมืองเปี่ยมสันติสุข)

This sonata was composed as a part ofa special celebration to honour H.M. King Rama IX for the auspicious occasion of his 6th cycle birthday on December 5th 1999.


The sonata is based on 'Cherd Jeen', one of the most respected Thai classical compositions for a solo Ranad Ek (Thai wooden xylophone). 'Cherd Jeen' is known for its supreme virtuosity. The sonata has its themes of the first ans last movements drawn from the whole four movements of 'Cherd Jeen'. For the second movement, Adagio con espressione, new theme was composed called, "Sacred Elephant". The seven whole tone of Thai scale and other characteristic of Thai melodic lines representing the sound of Ranad Ek are transposed into pianistic idioms.


1. Allegro con Spirito (แสงทองส่องไทย)

The first movement started with a unique motif which recurs throughout the whole sonata. It has a lively and energetic texture. The second theme comes as a sweet surprise and is culminated later at the climax of the development section.


2. Adagio con espressione (ไผทอรุณเรือง)

The second movement begins with a short chordal introduction inviting the "Sacred White Elephant" theme which has a nostalgic feeling of the Northern Thai region. The middle section is drawn from the third movement of "Cherd Jeen". This melody, in the left hand, is accompanied by an elaborate right hand and reaches its climax with powerful majestic chords. The movement ends with the feeling of mythical 'Sacred White Elephant' theme.


3. Allegro vivace (เมืองเปี่ยมสันติสุข)

The last movement is full of life. Its vitality of the Ranad Ek techniques which delve into the theme from the middle section of the second movement in variations. The movement ends with great celebrations.


The second sonata didn't show only Nat's talent in merging Thai and Western Classical sound, it also showed his virtuosity in playing the Thai masterpiece for Ranad Ek that he made equally challenging on the piano.


Mostly copied from "Where the Music Begins" programme book (2000)




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