The first cello sonata (1939) reflects the turbulence of the war’s early months. An unsettling, obsessively rhythmic opening paragraph in the piano launches a motoric, sometimes jagged, triple-time dance, hardly stopping for breath.
The harmonic language of the second cello sonata (1941) exploits and develops much of the astringent dissonance of the first sonata, there are also plenty of real ‘new world’ colours, melodies full of the open spaces of Martinů’s newly adopted country.
Now, jazzy harmonies and rhythms are much more complex and varied. Martinů’s later style has an attractive mix of pungent dissonance, motoric repetition, jazzy syncopation and some great tunes –and all these are in generous evidence in the third cello sonata (1952). It inhabits a more positive world than the first two, well suited to its recently deceased dedicatee, cellist Hans Kindler whose personality was, reportedly, inveterately and delightfully upbeat.
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