instrumentation: Violin and Accordion
ISMN: 9790801590107
cover: Małgorzata Flis
editor: Jadwiga Kubieniec
number of pages: 11+20
The piece is dedicated to Karolina Mikołajczyk and Iwo Jedynecki. The recording of the Sonata, made by DUX Recording Producers, can be listened to on the YouTube channel of the Duo, including the third movement, Allegro.
Sonata for violin and accordion “Night Full of Sins” (2019) has the classical form the author was inclined to maintain, yet always creating an original and effective model of this traditional genre. All three movements, each in its own way, refer to the reprise form and to the variation technique, eagerly employed by the composer with unpretentious mastery. In the first movement, Allegro appassionato, with a small contrasting episode in the middle, the parts of the two instruments balance each other out, and the vivid expression is combined with fantasy and panache. And yet, despite its light mood, the rise and gust of emotions herald the serious and inspired character of the second movement, Grave semplice. In this movement, concentrated and passionate, lyricism and tension reach their climax, making this movement the expressive centre of the entire composition. The rapid third movement, Allegro, is styled in the rhythm of a bolero, skilfully combining a joyful, somewhat playful character with sophisticated modulations and characteristic colour. What is perhaps most admirable in this piece is the interplay of the two instruments, perfectly cooperating, yet maintaining independence and an excellent presentation of their capabilities. The accordion part has been planned in such a way that, with a very impressive musical tissue, it always provides support for the violin and watches over the compactness of the form. This part is expansive, vivid, rhythmic, impressive, sometimes motoric, sometimes ostinato‑like, but it continues to help to highlight the unusual violin part (especially in the second movement), drawn with great melodiousness, in melodic inspiration and almost mystical lyricism. The violin phrases are scattered over the instrument’s entire scale꞉ they change registers spectacularly and lead a refined line of fluent leaps in an amazing diapason. The broad melodics sometimes evokes Brahmsian depths (the theme of the first movement). A characteristic trait appears in the middle of each
movement, when the accordion’s sound pattern changes it would like to take the lead, but the violin allows it only for a moment, and then lightly and gracefully takes over again. Vivid double notes of the violin, motivic dialogues between the instruments, modern polyphony, tragic notes, dramatic calmness, raptures that do not violate intimacy, carefree attitude combined with drama, emotional tension lurking between the lines and an unusually large amount of cheerfulness in the outer sections – these are the features of the Sonata that build its lasting value and charm.
Krzysztof Lipka
