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\n \n About work:

The Sonatina for 11 Instruments stands between his chamber music and great orchestral forms as the most impressive expression of Albrecht's compository work. The polarity of this composition in which 11 orchestral instruments make themselves valid in chamber polyphonic compository structure as well as in orchestral consonance where the polarity of a string and wind ensemble manifests itself – gave to Albrecht the greatest amount of possibilities for realization of his aesthetical ideals. The music speech of Albrecht, growing out of world romanticism, ripened very quickly and already in the period after World War I brought forward synthetical characteristics typical of Albrecht's intentions finding close links with European musical events. In Sonatina culminates the personal crystalization of Albrecht's musical expression which has since then become typical of his work. The development of Albrecht's thinking had already transgressed the framework of a closed tonal system. In Sonatina round the main centre \"E flat\" appear several different transient centres which bear different resemblances of the main one. Their relations form the basis of Albrecht's formal treatments. The main theme of the first movement which is unstable and hesitative gives an impression of excitement in comparison to the second theme which is melodious and balanced. In the rondo form it culminates in thundery gradation while in the intermezzos it calms down. The second movement seems to be a quite regular minuet which, as far as the animation of harmonic exposition of the theme and in fine melodic charm is concerned, gives an impression of a parody on rococo manners. The content of Trio is, according to composer's own interpretation, \"a dialogue in a window alcove of a Ball Hall\". The string and wind ensemble is here represented in a poetical manner: the groups interchange and bring their own ideas. In the third movement the moods vary: desire and fervour is opposed by a grotesque. In an impressive form Albrecht's principle of tonality and form, namely the interval of diminished fifth (augmented fourth), serves as the source of tension melodically, harmonically and formally. The exposition brings contrasting ideas of desire and fervour. In the realization of this principle rich instrumental ideas are developed and in agreement with the content of a grotesque, harmonic and bizarre sound effects are brought forward. The Sonatina was introduced for the first time on 26th March 1926 in Bratislava by Arkadjev's Quartet and by members of the amateur Slovak Philharmony. A real tribute to this work was given by its performance in 1949 under the conductorship of Václav Talich, National Artist.


\n (Ferdinand Klinda, In: foreword to the score, Štátne hudobné vydavateľstvo 1963)
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\n Movements:
\n\n Lento\n 14'\n
\n\n Menuetto\n 6'\n
\n\n Vivace\n 8'\n
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First performance in Slovakia

\n \n \n 24.03.1926,\n Government Building,\n Bratislava,\n SK\n\n
Performers: Aktardžiev Quartet, members of the amateur Slovak Philharmony\n
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