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This is a short Violin Sonata in the classical style, named Amadeus since the first movement is heavily influenced by the early Wolfgang Amadeus Mozart.
It consists of three movements:

1. Allegro giocoso (Sonata form) 
2. Adagio poco doloroso (ABA form) 
3. Tempo di minuetto (Minuet and Trio) 

The "Amadeus" sonata was composed almost by accident after a class in chamber music where I had to substitute for the pianist in Mozarts Eb Sonata Kv. 26.
As I came home after rehearsal I composed the first movement and the similarities with the Mozart are clearly heard in the beginning of the movement.
A couple of days later I composed a complementary Minuet and Trio and thought the work was finished.
A month later however I felt that the work needed a contrast so I decided to complete it by composing a short slow movement in the parallell minor (fun fact: this is actually the first time I have ever composed in the key of B minor) 
The movements are bound together by their opening motives which all have a similar figuration.

Sonata No. 2 "Amadeus" in D Major Op. 25, for violin and piano (complete)

Funeral Blues by Britten

Benjamin Britten: Night Piece (Noturno)

Fullerton College Chamber Choir, under the direction of Dr. Katharin Rundus.   I am singing alto in the small quartet.

Hymn To The Virgin - Benjamin Britten

This is my second string quartet, composed in September 2024.
"Den grälsjuka" means The quarrelsome and refers to the conflict between the violins at the beginning of the first movement, when the second violin tries to "correct" the phrase endings of the first violin, who only after eight measures follows suit and does what the second violin (and in the fifth measure even the viola) tries to get it to do.

It is composed in three movements:

1. Allegretto con spirito
2. Adagio sostenuto
3. Tempo di minuetto

String quartet No. 2 in A Major "Den grälsjuka" Op. 32 (midi recording)

Cuckoo (Benjamin Britten)

More info: http://www.factmag.com/2015/04/14/irish-grime-producer-saga-preps-vicious-treachery-ep-stream-dark0s-peaceful-dub-of-the-title-track/

Saga - Treachery (Dark0 Remix)

Lauer album " Borndom " out now 
permvac 139-1 

Buy LP Or CD here 

LAUER - CREWNERS

This is my second guitar sonata composed in January 2025, performed live in Vetlanda church March 25th 2025 by guitarrist Eric Lammers.

Sheet music to be published by Bergmann Edition alongside my first Sonata in D Major late 2025 to early 2026.

Guitar sonata No. 2 "The autumn evening" in a minor Op. 33 No. 2 (live performance).

This is a Baroque style sonata for unaccompanied violin in three movements:

1. Allegro molto
2. Sarabande
3. Gigue

This is by far the smallest of my (to date) five sonatas and began with the second movement which was actually originally composed to complement the finale of my G Major sonata (before I had revised the movement to include it in that sonata instead) as a second movement, but I found them to be to different in style and the Sarabande lay unused for three years before I found an early effort to write an Etude for solo violin which I chose to heavily revise into what is now the opening Allegro first movement. The sonata was finally put together in October 2019 when I composed the Gigue finale. 

Sonata for solo violin "In stile barocco" in D Major Op. 19 (midi recording)

This is a short prelude and fugue written for a collegue at work, back in 2019 (this is the revised version from 2023).
The two movements are connected by the theme of the prelude which comes back as countersubject in the fugue. 

Since I work in educating church cantors I have long wanted to write an organ fugue.
But since I do not play the organ myself, it didn't come naturally, until I listened to Bach's prelude and fugue in D Major, and found that an organ fugue can actually be humourous as well as well constructed by all the rules that comes with the genre.
I hope that my piece conveys some of that sense of humour as well as being contrapuntally sound, albeit being a much smaller and, if I dare say so, less pretentious work.

Prelude and fugue in C Major Op. 20, for organ (midi recording)

This is my first complete sonata, originally composed as a three movement work (without the Adagio) in 2016 for students at the school where I work and dedicated to my late father. It was later revised with the addition of the slow movement in March 2021. It is in four movements:

1. Moderato (Sonata-allegro form)
2. Adagio "In memoriam" (Slow movement sonata form) 
3. Tempo di minuetto (Minuet and Trio) 
4. Allegro vivace "Hunt" (Sonata-allegro form)

The "Hunting sonata" (Jaktsonaten in its original Swedish title) began as a one movement work for unaccompanied viola called "Jakt" (Hunt or Chase in English) due to its never ending streak of sixteenth notes, and plans to make it into a larger work came only after a lecture in composition for which I prepared an example, which was to become the third movement. As I had already composed Jakt and didn't really know what to do with it I revised it and added the piano part of what was to become the fourth movement. 
Having composed two movements, of which one was originally called Hunt I thought I'd compose an opening movement as well. And when composing an opening movement  to complement a movement called Hunt it came natural that it should be based upon a hunting call.
Hence the original three movement sonata was complete.
But as it fell, at the time of putting the work together my father fell ill and was hospitalised. So I decided that I would finish it as a positive work to celebrate his homecoming. Unfortunately he passed away while in hospital and never came home and I stopped working on the piece in early 2017.
It was only on my late father's birthday in 2021 that I brought it up once again and composed the second movement, with it's own subtitle "In memoriam".
And so the four movement sonata was finally complete. 
A work that started almost by accident, but in time became my longest work to date.
I hope you enjoy it and that it sounds coherent, despite being composed in the way it was.

Sonata No. 1 "Hunting sonata" in G Major Op. 13, for violin and piano (midi recording))

This is the third of my Three Romantic Pieces, here played by pianist Edward Cohen who teaches at the Royal Conservatoire of Scotland and the Universities of Edinburgh and Glasgow.

Three romantic pieces Op. 17 No. 3- Rondo Furioso (live performance)

The second of my Three Romantic Pieces is a Nocturne composed for my wife, who is a piano teacher, as a gift for our seventh Wedding anniversary.
The first section shares its form with John Fields famous Nocturne in Bb Major and the central section, the Wedding march, is influenced by Frederic Chopins g minor Nocturne from op. 37.
This recording is made by Anna Sutyagina of Moving Classics TV who featured me as Composer of the week on the channel in February 2020.

Three romantic pieces Op. 17 No. 2 - Nocturne "Wedding anniversary" (live performance)

Soprano: Cecilia Alrikson
Piano: Terés Löf

1. Escape at bedtime (text: Robert Loius Stevenson)
2. The more loving one (text: Wystan Hugh Auden)
3. The angel (text: William Blake)

Recorded live at Västervik Chamber Music Festival August 14, 2020.

Some have said that this may be the best pieces I have written all together. Whether that is true or not I leave to others to decide. But writing these songs I was very inspired, not least by Liza Lehmann, whom I had just discovered at the time, and her wonderful song cycle "The daisy chain" where she too sets Stevenson's Escape at bedtime, although her song is called Stars.
Inspired by her writing I set the first two songs in this cycle within two days in the fall of 2014.
The final song, set to a poem from Blake's "Songs of experience" is written in a more Schumannesque fashion, with the odd feature of starting in Major and ending in Minor.
All together, the three songs represent the protagonists relation to the night from childhood, through adolecense and old age, starting off rather naive but gradually becoming more serious and ending with an outburst. 

Three nocturnal songs Op. 11 (live performance)

This is my second piano sonata "Joie de vivre" in C Major.
It consists of four movements in the following sequence:

1. Allegro molto (Sonata-allegro form) 
2. Scherzo (Scherzo and Trio) 
3. Andante semplice (ABA form) 
4. Allegro giocoso (Seven part Rondo form)

This is my second "Grand Sonata", following my Violin sonata No. 1, including both a dance movement and a slow movement, in this case the second movement is a Scherzo.

The first movement starts with a scalar motif inspired by Maria Hester Park's C Major sonata op. 7, but whereas she uses the scalar figure to develop a very fluent lyrical theme in the style Mozart I am more influenced by Ludwig van Beethoven and Joseph Haydn in the exposition, with its short contrasting phrases and sudden shifts in dynamics. The development following is however in pure Mozart in style starting in the tonic minor and moving through g minor and D Major before cadencing in A Major and then moving back through a dramatic passage over the circle of fifths. 

The second movement is an a minor Scherzo which owes its opening figure to the piano concerto of Robert Schumann, but what follows is a typically classical Scherzo, with a C Major Trio section with much reminicense of the style of Haydn's Minuets. 

The third movement, in F major, is written in a mostly two voice texture influenced by the figured bass style of the Baroque (some have told me they get a "feeling" if not a direct influence of Domenico Scarlatti). 

The last movement is in a Haydnesque contrapuntal style with formal influences from the seven part rondos of Sofia Dussek. Influences of Muzio Clementi are also strong in this movement which rounds off the sonata by stating its three themes in the same key order as the previous movements (A is in C Major as the first movement, B in A minor as the second and C in F major as the third movement was).

The work is dedicated to my wife Desiree with much love. 

Piano Sonata No. 2 "Joie de vivre" in C major Op. 23 (midi recording)

Ewa Nowicka is a Lyric Mezzo Soprano with a love for diverse and dynamic concert programming. Ewa is an advocate for music written by Polish Composers, Women Composers, as well as any music that connects with previously disengaged audiences. 

Follow on twitter @Ewa_Now or check out www.EwaNow.com to find out more. 

Multimedia Artists, Collaborative Musicians and any other artists looking to connect, please contact Ewa via her website. 

Funeral Blues by Britten

EwaNow

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