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Paradoxes: Sonata for Cello and Piano, Op.92
Clássico/Sonata • 1998
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Paradoxes: Sonata for Cello and Piano
Título por Autor: Carson Cooman: Paradoxes: Sonata for Cello and Piano, Op.92
Instrumentação |
Piano, Violoncelo |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Parte de solo |
movimento(s) |
1 para 3 de 3 |
Editora |
Musik Fabrik |
dificuldade |
Difficult |
duração |
12'0 |
I. Paradox of Stillness
II. Paradox of Brevity
III. Paradox of Movement
Paradoxes: Sonata for Cello and Piano (1998) was written as a commission from musicologist and cellist Larry Kludge
The conception and inspiration of this sonata had the idea of "paradoxes" behind it. Our universe is certainly full of these paradoxes, and they range from the most practical in nature to the most highly philosophical in nature. Each of the movements in this work is paradoxical in a variety of musical ways. The movement titles present the foundation ideas for each movement, "stillness", "brevity", and "movement"; however, those serve as only the beginning for the paradoxes in the work.
The first movement, Paradox of Stillness, opens with a statement of the main melodic theme for the work. The melody and pitches of that theme are used in a variety of ways throughout. The second section serves as a contrast to the opening after which the opening section is recalled again for the close.
The brief second movement, Paradox of Brevity, is a very fast moving movement for the cello and the piano. Driving rhythms and odd harmonic twists pervade the movement.
The final movement, Paradox of Movement, opens with and sustains a "moto perpetuo" dance for almost the entire movement with a break in the middle for a brief cadenza for the solo cello. A brief coda brings the movement to a close
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