Duo-sonata, Op. 55 (1922)

In 1922, Leopold van der Pals and his wife Marussja spent the summer in the company of Leopold’s brother, the conductor and musicologist Nikolai van der Pals and his wife Saga. During this time Leopold van der Pals composed the third and fourth movement of the Second Symphony Op. 51. A work, which Nikolai van der Pals premiered 15 years later with the Wiener Symphonic Orchestra.

In Garmisch with Kokka (Nikolai) and Saga. They departed today to Finland. Too bad. Would like to stay with Kokka. Perhaps we could do something together. But it is just always so. … And then both of them are such lovely people.

Diary, 23. August 1922

The positive and creative atmosphere in the company of his brother spurred Leopold van der Pals inspiration. Two days after his brother’s departure he wrote:

Began to compose something for violin and cello alone. 

Diary, 25 August 1922

And one week later:

The sonata for violin and cello is finished. In only one week.

Diary, 1 September 1922

In October that year he got the chance to hear the piece for the first time at a private rehearsal with his friend, the violinist and composer Max Schurmann, playing the cello part himself.

Yesterday the Schurmanns spent the evening with us. Played parts of the Duo-Sonata. Sounded good and full. But it is very difficult to play.

Diary, 5 October 1922

The Duo-Sonata was premiered in November 1922 by Gustav Havemann, a famous violinist and a champion of van der Pals’ Violin Concerto Op. 10, which he performed throughout Europe. Years later, Havemann made a career in the Nazi-regime after which van der Pals had nothing to do with the violinist.

The Duo-Sonata Op. 55 consists of four movements and the work distinguishes itself from the Piano Trio and III Piano Sonata by the fact that the four movements are individual and that the themes have little in common. The work bears a distinguished trace of late romantic harmonic language and inspiration from nordic folklore.

The main theme of the first movement, Allegro moderato, is based on an E minor chord with expressive, falling intervals. A second theme, related to the first, is presented in the middle of the movement in a brief, calm atmosphere which also works as base for the dramatic development featuring outbursts of unison rythmical gestures in the violin and cello. As the movement ends, a pizzicato figure marks the transition into the Adagio (second movement) as if the first movement drifts away and makes room for a more intimate music.

The theme of the Adagio brings the listener towards a melodic nordic folklore character, as the cello lies steady on a deep fifth which the violin fills with a beautiful melody developed throughout the movement.

The Scherzo is a vivid pizzicato movement. The repetitive rhythms and witty themes create a unique groove showing van der Pals’ desire for new expression. However, the music also has an underlying, more serious character exemplified by the trio’s extended chords, tenuto bowings and long musical lines.

The final movement starts with a fast theme related to the main theme of the first movement in E minor but this time based on E major. After a development, a noble, melodic second theme is presented in the violin accompanied by large pizzicato chords in the cello. The accompaniment soon develops into a rhythmical dancing folklore with open fifths in powerful rhythmical patterns. Both themes return twice before the movement is brought to climax in a majestic C major and the sonata ends in a rather symphonic gesture.

Tobias van der Pals, 2014