Stenhammar composed the Piano Sonata in G minor in the spring and summer of 1890. This sonata follows a traditional four-movement form that consists of: (I) Allegro Vivace e Passionato; (II) Andante quasi Adagio; (III) Scherzo and Trio; and (IV) Rondo. The approximate length of this sonata is about 25 minutes. Perhaps this could be regarded as Stenhammar’s first mature piano composition. (1) Stenhammar integrated and expanded different stylistic elements and this sonata exhibits a more sophisticated quality than in his earlier sonatas. These elements include the use of a more complex voicing, thicker chordal texture, more chromatic harmony and melodic line, and a wider scope of dynamic markings. The increase of technical demands and pianistic requirements become more evident as he developed into an excellent pianist.
This sonata seems to have strong similarities with Schumann’s Sonata in G minor, Op. 22. Perhaps Stenhammar was aware of Schumann’s sonata through his study with Andersson and later decided to model after it. The similarities between these two sonatas will be discussed later in Chapter 6. Despite the similarities, we still can find Stenhammar’s personal harmonic and melodic language in this sonata as it defines his first mature work. The author believes this to be a very effective and expressive sonata. Like the rest of his solo piano works, Stenhammar never performed this sonata again after playing it at a charity concert in May 1891. (2)
(1) This sonata was composed while he was studying composition with Emil Sjörgen and Andreas Hallén
(2) Martin Sturfät. “Wilhelm Stenhammar(1871-1927)—Piano Sonata in G minor (1890)” the Introduction (Stockholm: Musikaliska Konstföreningen, 2008), V.
From Crystalia, Maria, “A Survey of the Piano Sonatas of Wilhelm Stenhammar (1871-1927) with Performance Suggestions for the Piano Sonata in G Minor” (2014). Graduate Theses, Dissertations, and Problem Reports. 437.
https://researchrepository.wvu.edu/etd/437