Kodaly’s beautiful hungarian style duet is undoubtedly one of the most important contributions to the repertoire for the duo violin/cello. Here you can hear and watch it as my wife Paula Novoa (violin) and myself (cello) play it in Fribourg.
Live Recording Fribourg Centre le Phénix 17/2/2012
This music is amazing and yet relatively unknown. My orchestra colleagues Christina Gallati (first violin), Keiko Yamaguchi (second violin) as well as my chamber music friends Markus Wieser (viola) and Maria Efstathiou play the colorful masterpiece.
Maria Efstathiou, Guitar Christina Galati, Violin I Keiko Yamaguchi, Violin II Markus Wieser, Viola Sebastian Diezig, Cello
Sebastian Diezig plays Sándor Veress’ Sonata for cello solo.
Live Recording Aarau July 21, 2011. Program for that recital was the solo sonatas by Veress and Kodaly.
“The last movement of the Veress solo sonata displayed in this video is very tricky to play by heart. I like it very much though because it shows the composer’s seemingly unlimited musical imagination. This music is not tonal but still sounds right, you know what i mean?
Sebastian Diezig plays Zoltán Kodály’s Sonata for cello solo.
Live Recording Aarau July 21, 2011.
“Program for that recital was the solo sonatas by Veress and Kodaly, which was a healthy challenge. I would do it again anytime though.
The Veress Solo Sonata is not exactly easy but this Kodaly Sonata is probably the most difficult piece I have learned so far. Anyways, I love to play it because it is great music and playing this kind of material keeps me in shape and helps me progress.
This Kodaly composition is a milestone in cello playing technique. I think it did for the cello a comparable job as Bach’s Suites did a couple of hundred years earlier in order to help establishing the instrument in a solo recital setting.
In order to play this piece you have to tune the C string down to a B and the G string down to an F sharp. Makes the whole thing a little tricky but as I said this is one of the great solo pieces of the 20th century so it pays off.
As you can see: Double-stops all the time, left-hand pizzicatos at every corner, extremely fast virtuosic passages, all the notes of the cello used from the lowest up to the highest (sometimes at once) and of course this scordatura (the lower two strings need to be tuned down half a step). In addition it’s not easy to play by heart because it is quite complicated. But you have no choice as there is no time for page turning.”