Myaskovsky - Cello sonata N2 a-moll op.81


Myaskovsky - sonata N2 for cello and piano. You can download the sheet music Myaskovsky - sonata N2 for cello and piano on this page.

The Sonata in A minor, Op.81, seemingly more traditional with its three-movement structure, still does not have a slow movement. The composer asserted in his diary that he had thought of adding a minuet, but gave up the idea, even though it was completely written out. Originally intended for viola d'amore or viola—the violist of the Beethoven Quartet, Vadim Borisovsky, published a transcription for his instrument—, it begins with an Allegro moderato that proves to be closer to an andante, like the opening movement of the Sonata No.l.

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PDF format sheet music

Cello part: 14 pages. 926 K

 

Piano part: 54 pages. 3473 K

 

Instrument part - First page Piano part - First page
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The first theme, broad and flowing, with a Russian flavour that is archaic in its melody, is stated by the cello over A minor keyboard arpeggios. The second, of a more assertive sweep, seems to be a secret homage to the Beethoven of the Op. 102 no. 1, in the same imperious key of C major, and provides matter for a recitative that is admirably written for the instrument. The middle movement, Andante cantabile, is imbued with an 'old Russia' atmosphere, elegant and atavisti-cally nostalgic, recalling Tchaikovsky in its stylized waltz rhythm of the first episode, Rachmaninov in the second, with a more complex metric scheme and more tormented harmony. The final Allegro con spirito is livelier, if not exactly fast, and progresses on an ostinato rhythm that maintains two contrary elements: a spiccato rondo theme of an imaginary folk dance contrasts with an undulating, lilting melody that, at moments, sounds like the refrain of a slow, rustic sarabande, at others, an almost liturgical character. The two instruments cooperate by successively accompanying the other: the cello introduces this curious spiccato theme in C, the piano commenting on it in E, then coming back to C. Through a specifically 'Miaskovskian' expansion procedure, based on keys becoming multiple (F minor, A flat major, D minor) this melodic material metamorphoses, becoming denser through the virtuoso and profoundly lyrical power of the two instruments, before a brief recapitulation of the opening theme that, to conclude, superimposes itself on its most extensive form in a particularly spectacular stretto.
 
 
     
 
 
 
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