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

The Reminiscences Op. 25 from the year 1947 link up to the Slovak Suite but at the same time they represent a marked extension of the composer´s inner world. The author, however, sticks to the three movement architectural basis. He transposes the reminiscence first into the second and then into the first part in the second movement, extended by a large coda; instead of symphony orchestra he employs the strings and a wind quintet exclusively. The Reminiscences consist of three movements, not labelled by special names. Only their rhythm is indicated. The sources of this inspiration, however, are clear – since it is a piece of expressionist music par excellence. The second movement is still idyllical and bucolic in its nature, with a typical temperamental Slovak dance /in the middle passage and in Coda/ but the first and the third movements represent its sharp contrast. The first one is a meditation in tones – even though with some pastoral elements – it expresses the feelings of a mature author. The final Finale is still more profound. Its marginal passages are contemplations on life and death and the fugue is a stylish expression of the was tragedy.
Homophony changes turns with the mixed facture and polyphony in the composition, though all this is materialized in a typical cikkeresque double layer of pulsation in the background and the leading tune. The compositional virtuosity of the work achieved through the simple means is solely a base for emphasizing the profound emotions of human soul. The subjective author´s expression acquires the value of the objective one, through his genius.


\n (Igor Vajda, in: commentary to the LP Opus 9110 0585, 1978.)
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\n Movements:
\n\n Andantino\n \n
\n\n Molto moderato. Allegro scherzando. Tempo primo\n \n
\n\n Adagio. Molto vivo. Allegro moderato\n \n
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