Edition Schott
Sonate g mineur. op. 32. violin and piano.
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- Nombre de pages80
- Poids0.3 kg
- Dimensions23,1 cm × 30,3 cm × 0,0 cm
- ISBN979-0-001-15750-6
- EAN9790001157506
- Date de parution01/01/2009
- CollectionVIOLIN LIBRARY
- ÉditeurSchott
- EditeurWolfgang Birtel
Résumé
Johanna Senfter (1879-1961) was a pupil of Max Reger. Beginning with an expressive violin theme in a densely packed, 'Brahms-like' piano setting, the classical four-movement work centres around two capricious and playful movements : Lustig, nicht zu schnell is how the second movement begins, a fugal gem working with all kinds of contrapuntal tricks. This is followed by a scherzo-like, wittily flirting Rasch.
The finale begins with a melodically simple tune in an almost folksong-like tone which, by a sequence of character variations, builds to a grand gesture which eventually leads back to the initial cantabile - with the sonata coming to a quiet end. A valuable addition to the chamber music repertoire. Instrumentation : violin and piano op. 32
The finale begins with a melodically simple tune in an almost folksong-like tone which, by a sequence of character variations, builds to a grand gesture which eventually leads back to the initial cantabile - with the sonata coming to a quiet end. A valuable addition to the chamber music repertoire. Instrumentation : violin and piano op. 32
Johanna Senfter (1879-1961) was a pupil of Max Reger. Beginning with an expressive violin theme in a densely packed, 'Brahms-like' piano setting, the classical four-movement work centres around two capricious and playful movements : Lustig, nicht zu schnell is how the second movement begins, a fugal gem working with all kinds of contrapuntal tricks. This is followed by a scherzo-like, wittily flirting Rasch.
The finale begins with a melodically simple tune in an almost folksong-like tone which, by a sequence of character variations, builds to a grand gesture which eventually leads back to the initial cantabile - with the sonata coming to a quiet end. A valuable addition to the chamber music repertoire. Instrumentation : violin and piano op. 32
The finale begins with a melodically simple tune in an almost folksong-like tone which, by a sequence of character variations, builds to a grand gesture which eventually leads back to the initial cantabile - with the sonata coming to a quiet end. A valuable addition to the chamber music repertoire. Instrumentation : violin and piano op. 32
