Sonata No. 2 for Violoncello and Piano (1993) скачать в хорошем качестве

Sonata No. 2 for Violoncello and Piano (1993)

Sonata No. 2 for Violoncello and Piano (1993) by Stephen Dankner. Performed by Javier Arias, violoncello; Edith Ruiz, piano. I. Molto moderato (0:00) II. Tempo d'un adagio (10:37) III. Allegro con brio (20:59) SONATA No. 2 for VIOLONCELLO and PIANO (1993) My Sonata No. 2 for Violoncello and Piano was completed in March 1993. It is the last in a series of three sonatas that I completed in that year (the other two are for solo piano and violin and piano). The work is in three movements. The opening Molto moderato begins mysteriously with octaves in piano and cello outlining c minor and g minor chords. A transition leads to a lyrical, second theme in B flat Major in which the melody is shared by the two instruments. There follows a development section in which the two themes are given much elaboration. The traditional recapitulation is amended by an elaborate coda which functions as the climax of the movement. The second movement is in the character of a ‘Romance’ - a lyrical and highly rhapsodic mood piece that features cadenza-like material for piano and cello. The movement is framed by an introductory solo for the piano which subsequently returns three times in different guises. This passage, together with the cello’s main theme in the key of E flat forms the basis of the rondo structure upon which the movement is built. The third movement is an agitated Allegro con brio in the home key of g minor. The sonata-form presents the two themes in short order. Once again, there is an elaborate development section that, in addition to working out the material of the exposition, brings back the first movement’s second theme - harmonized differently, as if perceived through a haze. A transition brings about a return to the two main themes, and the movement concludes with a furious coda in the home key. Overall, the Sonata is a big, virtuoso conception, which features the piano more prominently than the cello in its rhetoric and scope; the role of the cello is to project melody against the piano’s washes of sound. In this sense, the work is more like an expository concerto than a typically intimate work of chamber music. --program note by Stephen Dankner Score/part available from www.stephendankner.com.