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\n \n About work:

When we speak about the output of Juraj Hatrík, we cannot omit his great interest in literature and philosophy which marks his works with everlasting confrontation. That is why Hatrík's pieces are said to be bipolar - one pole being the contents, the other the compositonal structure. It is, so to speak, the confrontation of the real with the dream, of the emotional with the rational, of the traditional with the contemporary (the use of the series on the background of the harmonic procedures). In Canzona, this bipolarity is represented by a moment of the Eternity caught in the contenis which reflects in the music in the form of the lyrical vocal and dramatic instrumental part winding around the human voice. After the poetry of Tagore has been performed (translated by N. A. Zoberi and Ľ. Feldek), the viola falls silent
and the organ finishes the composition with its dramatic finale as if in an unfinished dilemma about the Infinity. Canzona, the chamber vocal-instrumental piece, is not the only composition of this kind among Hatrík's works. The combination of the vocal and the instrumental is typical of the composer and suitable for his intentions to tell about the inner world of the man of the 20th century, his opinions about his place and his mission on eur Earth just in this moment, just now. Canzona is dedicated to the memory of Hatrík's professor, the composer Alexander Moyzes.


\n (Marta Földešová, in: CD booklet Chamber Music 2, Hudobný fond 1993)
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First performance in Slovakia

\n \n \n 18.02.1985,\n Concert Hall of the Slovak Philharmonic,\n Bratislava,\n SK\n\n
Performers: Hana Štolfová-Bandová (a), Marián Banda (vl), Eva Kamrlová (org)\n
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