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Roslavetz - Cello sonata

Roslavetz - Cello sonata. You can download the sheet music Roslavetz - Cello sonata on this page. This melodic cello composition - is a beautiful sample of composition by the well-known virtuoso of string composition. This sonata excites listeners by its special musical language and many other specialities. This composers opus inspire cello player by the clear harmonic of musical text and many other traditional features.
To view the first page of Roslavetz - Cello sonata click the music sheet image.
PDF format sheet music

Cello part: 6 pages. 880 K

Piano part: 27 pages. 4200 K

Roslavetz - Cello sonata - Instrument part - First page Roslavetz - Cello sonata - Piano part - First page

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Nikolai Roslavets (1881 - 1944) was a significant Ukrainian Soviet modernist composer. Roslavets was a convinced modernist and cosmopolitan thinker; his music was officially suppressed from 1930 onwards.

While still a student, Roslavets had been engaged in vigorous artistic debates provoked by Russian Futurism, and was close to artists such as Kasimir Malevich, Aristarkh Lentulov, Vasily Kamensky, David Burlyuk and others. Deeply influenced by the later works of Alexander Scriabin and his mystic chord, Roslavets' quest for a personal language began not later than in 1907; it led to his propounding a "new system of sound organisation" based on "synthetic chords" that contain both the horizontal and vertical sound-material for a work (a concept close to that of Schoenberg's twelve-tone serialism). Following an article of Vyacheslav Karatygin, published in February 1915, Roslavets was sometimes referred to as "the Russian Schoenberg," but in 1914 Nikolay Myaskovsky had already stressed the original nature of Roslavets' style.

Though the "new system of sound organisation" regulates the whole twelve-tone chromatic scale, most of Roslavets’ "synthetic chords" consist of six to nine tones. In the 1920s Roslavets developed his system, expanding it to encompass counterpoint, rhythm, and musical form while elaborating new principles of teaching. In Roslavets' earlier romances and chamber instrumental compositions those sets were already elaborated side by side with expanded tonality and free atonality.

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