{"content":"\n
\n \n About work:

As far as the piano sonata, premiered at the Melos-Ethos 1997 festival, is concerned, it´s a sonatina. I wrote it in February 1997 for Dana Šašinová, after finishing work on Concertino for piano and strings (written for Marián Lapšanský). I dedicated the last year to my work on the opera The Last Days of Great Moravia after Jonáš Záborský (commissioned by Juraj Hrabant, the former director of the Slovak National Theatre Opera Ensemble). Hrubant´s gone, so is the opera. This year I´m working more on chamber pieces, like 32 Inventions for Piano, Contrasts for Violin, Giocophonia for Zuzka, Games fo Jordanka, etc. Because for many my name is connected with the „wild“ music of the sixties, cellular music of the seventies and synthetic style of the eighties, I would like to attract the attention of the listener to the fact, that since 1991 the focus of my composing has lied on the meter and rhythm (in other words: the part played by labour in the transition from polymetrics to man), and on the „return“ to harmony (I´m using quotation marks, because the context, not the contens of chords is what matters).


\n (author, in: Bulletin Melos-Ethos 1997, p. 46.)
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First performance in Slovakia

\n \n \n 09.11.1997,\n Melos-Ethos,\n Mirror Hall of the Primate's Palace,\n Bratislava,\n SK\n\n
Performers: Dana Šašinová (pf)\n
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