General information
Title CZSonáta pro housle a klavír č. 3
Title ENSonata for Violin and Piano No. 3
Title DESonate für Violine und Klavier Nr. 3
Title FRSonate pour violon et piano n° 3
CategoryChamber Music
SubcategoryDuos for Violin and Piano
Halbreich number303
Parts of the composition (movements)1. Poco allegro; 2. Adagio; 3. Scherzo; 4. Lento - Moderato - Allegro
Durata24' 30''
InstrumentsVl Pf
Origin
Place of compositionNew York, NY
Year of origin1944
Initiation of composition11/1944
Completion of composition04.12.1944
First performance
Performer Balsam, Artur
Reyes, Angelo
Date of the first performance18.12.1945
Location of the first performanceNew York, Carnegie Hall (Main Hall)
Note on the first performanceAngel Reyes (Vl), Artur Balsam (Pf)
Autograph deposition
Note on the autograph depostitionAutograph missing.
Reproduction of the autograph score is located at the Bohuslav Martinů Centre in Polička.
Copyright
CopyrightAssociated Music Publishers, New York
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Editions
Associated Music Publishers, 1950
Call number at the BM Institute: 1016
Specification of the edition: 1st edition
Details of this edition
Sources
References Related writings
Documents in the Library
About the composition

The Sonata for Violin and Piano No. 3 is an expansive work in four movements. Its slow second movement, with its sophisticated alternation of con­sonances and dissonances evokes almost a feeling of weightlessness, is among the most beautiful pieces of music that Martinů ever produced. The virtuosic scherzo, with its toccato trio section, has nothing whatever in common with the "demonic" scherzo of the early Sonata in C major, H 120. The fourth movement, Lento, attains tempo gradually, its beautiful, broadly arching melody immersed in sound colors that are almost impressionistic. One incident that took place while this work was being written is quite symptomatic of Bohuslav Martinů's method of composing and of his intuitive approach to form. Although he had originally contemplated composing just three movements, after completing the second movement he was at a loss as to how to go on. He had to first compose a scherzo before finally being able to find the suitable form and musical material for his final movement.

Aleš Březina, Martinů: Works for Violin and Piano 2, © 1999 Supraphon Music a.s

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