Piano Sonata No. 3, op. 5
Mvmt. 1: Fugue
Mvmt. 2: Fugue
Mvmt. 3: Fugue
Dedicated to Hilary Hahn

Produced by Henry Lim
Recorded at Jan Popper Theater, Schoenberg Hall, UCLA, September 22, 1999, November 13, 1999, and April 6, 2000
Recorded and engineered by Jeff Richmond
Edited, mixed, and mastered by Henry Lim at the UCLA Music Library

Henry Lim, piano
"Coincidental Counterpoint Concerning the Account of an Appropriate Anecdote"

One of my relatively painless duties at the esteemed UCLA Music Library is to receive the latest periodicals, of which I oftentimes scour for the enlightenment of my curiosity and/or day.  The instance of infamy that shall be held partially accountable for this particular opus was the November 1999 issue of The Strad featuring a cover story on Ms. Hilary Hahn.  Shamefully, I was lured by her glossy image.  After reading that article I had the sudden urge to visit her
webpage to read her journal--perhaps I tripped on the plug.  The entries were rather good reading being personable, with charming humour, and a glimpse into the life of a traveling concert violinist replete with digital photographs.  It was Tuesday (new release day), November 16, and I was going to get the latest Danny Elfman score anyways, so I also picked up her Bach album. 

The observant reader will notice that recording of the first two movements of this sonata predated the publication and my discovery of The Strad story.  Nevertheless I was in the midst of composing the final movement, not to mention obsessively studying the keyboard fugues of Bach.  The emphasis is on
keyboard, however due to my own abled affiliation.  I was convinced that that instrument was the pinnacle of self contained contrapuntal music.  Hilary dispersed my biased notions with her rendition of Bach's 3rd sonata's Fuga.  I was very fond of her fondness for the multiple voices on, of all instruments, a violin. 
Then coincidence became a counter subject.  Checking Hilary's tour schedule, I could not have been luckier than her playing Schoenberg Hall on the 18th.  It was during that recital, sitting in the first row, completely entranced by the Fuga of Bach's 2nd sonata, that I was convinced of not only her magical talents, but her reverence for counterpoint.  She is very courteous to her audience, to the point that she makes a point of meeting them after a performance.  I have since been thankfully allowed autographs for her albums, of which I have her complete discography, along with enjoyed every performance in Los Angeles.  It was after her concert at Royce Hall that I fatefully decided she should grace a dedication.  As I waited in line, I played a little game: if she mentions any faint recognition of me, I shall scrawl her name on the left hand corner of the manuscript, if she says nothing of the sort, I will dash the whole endeavour.  When I reached her she blurted "You look familiar, were you at my last concert in LA?"  And thus this sonata is for her.
    Also available on the album Opp. 4-6
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