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Zolt​á​n Kod​á​ly: Sonata for Cello Solo, Cello Sonata, Duo for Violin and Cello

by Michal Kaňka, Pavel Hůla, Jaromír Klepáč

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1.
Sonata for Cello Solo in B Minor, Op. 8 I. Allegro maestoso ma appassionato 08:17
2.
Sonata for Cello Solo in B Minor, Op. 8 II. Adagio 11:13
3.
Sonata for Cello Solo in B Minor, Op. 8 III. Allegro molto vivace 10:46
4.
Duo for Violin and Cello, Op.7 I. Allegro serioso, non troppo 08:14
5.
Duo for Violin and Cello, Op.7 II. Adagio - Andante 08:09
6.
Duo for Violin and Cello, Op.7 III. Maestoso e largamente - Presto 08:10
7.
Sonata for Cello and Piano Op. 4 I. Fantasia. Adagio di molto 09:31
8.
Sonata for Cello and Piano Op. 4 II. Allegro con spirito 09:44

about

Having gone to Paris to study with Widor, fascinated by the universe of Debussy, the young Zoltán Kodály long worked parallel to Béla Bartók, his friend and elder by one year to collect an authentic material from the peasant folklore in the regions of the Danube, forming the foundation of the national Hungarian school which, without rejecting the gypsy tradition, would return to a whole people its rural roots. The first twelve opus numbers by Kodály are all devoted to instrumental and chamber music. As an amateur cellist, he had promised Jenö Kerperly to write him a Sonata for cello and piano. This opus 4, premiered by Kerperly with Bartók at the keyboard on 17 May 1910 was given in its original two movements form. The introductory Fantasy mixes homage to Schubert and Impressionism, while the Allegro con spirito appears as a suite of dances. This work may have been serving as a sketch for the masterpiece the Hungarian composer would create for his favourite instrument, the Sonata for Unaccompanied Cello Op. 8, completed in 1915 and also premiered by Kerperly on 7 May 1918. Coloured by modal inflections, using numerous polytonal chords, the harmonic language seems to treat tonal order in the most offhand manner. However this order reigns supreme so as not to distort the continuous melodic line of the discourse and gives an impression of vast liberty due to the next techniques which Kodály offered the instrument, transformed in harp, cymbalum, genre orchestra and shepherd’s pipes. The cello unfolds and multiplies, using new methods of attack of the strings, without departing from a rhythmic approach always renewed in its dancing nature. Such a score combines instrumental science, folklore reconstituted in its scholarly part, impressionist colors playing on old tones and modes. During the summer 1914, Kodály had written the Duo for Violin and Cello, a veritable instrumental sonata in the tradition of Schubertian ‘duo’, but borrowing the formal rectitude of Bach’s 2-Parts Inventions. This Opus 7 achieves an unusual fusion of the two instruments whose characteristics complement one another: the brilliance and virtuosity of the one contrasting with the intensity and an innately nostalgie coloring the second.

Awards: Choc by Le Monde de la Musique, Diapason d’Or, Recommended by Classica, 9 by Répertoire

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released January 1, 2000

Michal Kaňka (Cello)
Pavel Hůla (Violin)
Jaromír Klepáč (Piano)

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Michal Kanka Paris, France

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