 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
 |
| Reijer Stolk Anatomical Study before 1945 woodcut Rijksmuseum, Amsterdam |
from Sonata
To brush up on Sonata structure: first,
The Exposition sounds two melodies,
Deeply dissimilar, in different keys,
Major and minor. Part Two is a burst
Of brainstorms scholars call Development,
In which the two themes of the Exposition
Are changed and rearranged past recognition,
Distorted, fragmented, dissolved, and blent
Into chromatic superimposition,
Till, imperceptibly, two themes unite.
And then, if everything is going right,
The piece concludes in Recapitulation.
– Gjertrud Schnackenberg (1985)