Kammersonate : für Violine, Hans Werner Henze

Titel (DE): Kammersonate - für Klavier, Violine und Violoncello
Titel (EN): Chamber sonata - for piano, violin and cello
Titel (FR): Chamber sonata - for piano, violin and cello
Komponist / Composer: Henze, Hans Werner
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: Klaviertrio / piano trio
Besetzungsdetails:
Kompositionsjahr / Date of Composition: 1948 (1963)
Aufführungsdauer / Duration: 15'
Verlag / Publisher: Schott Music
Erscheindungsdatum / Date of Publishing: 20.07.1979
Ausgabe / Publication: Partitur und Stimmen - Score and parts -
- - -
Seiten / Pages: 24
Verarbeitung: Rückendrahtheftung - Saddle-wire stitching
Schwierigkeitsgrad / Difficulty: - -
Sprache / Language:
Reihe / Series: Edition Schott
ISMN: M-001-06056-1
ISMN-13: 979-0-001-06056-1
ISMN-EAN: 9790001060561
UPC:

The Kammersonate, for violin, cello and piano was composed in 1948 while Henze was working at the German theatre in Constance. It was the only chamber music written in a year which saw the composition of some of the composer's most acclaimed early works - including Wiegenlieder der Mutter Gottes ('Lullaby of the Blessed Virgin'), Das Wundertheater ('The Magic Theatre') and the solo cantata, Whispers from Heavenly Death - and gives clear evidence of the composer's instrumental skill already recognised in the First Symphony composed the previous year. Two richly polyphonic slow movements are flanked by a short introduction (light, detached, rhythmic), a short allegretto and a concluding Epilogo, a parting gesture recurring many times in the composer's music.

I Allegro assai - II Dolce, con tenerezza - III Lento

[FR]
The Kammersonate, for violin, cello and piano was composed in 1948 while Henze was working at the German theatre in Constance. It was the only chamber music written in a year which saw the composition of some of the composer's most acclaimed early works - including Wiegenlieder der Mutter Gottes ('Lullaby of the Blessed Virgin'), Das Wundertheater ('The Magic Theatre') and the solo cantata, Whispers from Heavenly Death - and gives clear evidence of the composer's instrumental skill already recognised in the First Symphony composed the previous year. Two richly polyphonic slow movements are flanked by a short introduction (light, detached, rhythmic), a short allegretto and a concluding Epilogo, a parting gesture recurring many times in the composer's music.

I Allegro assai - II Dolce, con tenerezza - III Lento