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\n \n About work:

Metamorphoses have five parts, but as the first three are joined attacca, it would be better to speak of three parts. In the first treble the composer gathers his recollections of 1935 to 1938 together. The quiet idyll of pre-war life changes into the passionate second part. The third in scherzo form the composer cheques up the disturbing, even tragic events round the Munich treachery and after it. The first part is a monothematic prelude built up out of a motif which is at the same time the basic cell, one might say, key to the whole suite; it contains the characteristic secondary melodic fall which plays an important role not only in Metamorphoses, but which is to be followed up in Suchoň already in his Balladic Suite. In the second part Suchoň’s passionate melodic comes into play through inner dynamic. This dynamic creates a great united platform, although thematically innerly interwoven. It is not a dynamic of single gradation, but here is also peripety, confirmed on reachable levels. We recognize this dynamic at once in the following scherzo – and the sudden leaps, surprises and eruptions. In the second part the emphasis is places on the leading sung melody and not on the counterpoint construction of the whole. Still, attacca joined by scherzo is, especially at the edge of the items, built in strong counterpoint form: at the beginning in manner of fugue exposition, whereby the answer is not on pure, but on a diminished fifth; in reprise in manner of sonata execution. The centre part is without fight and almost bizarre. The coda is so extensive that it gives the impression of an independent part. In comparison with the preceding parts the scherzo is violent, even grinding.

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The second union (fourth part) begins and later ends in the idyll era, as at the beginning of Metamorphoses, and these boundary parts are also built on introductory theme of the whole. The framing idyll streams here in the most vital thematic richness of music in Metamorphoses. We might here speak of the rondo form, but without repetition of return to refrain: The thematic richness cements the rich united dynamic current as well as the inner élan in such a way that at the first hearing one is not aware of the thematic construction. After several hearings one notices the fusion and also the thematic side in the way Suchoň joins and works out themes skilfully side by side.

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The final part represents in greatness as well as in importance of the music the most important part of the whole. Suchoň arranged in form complication of the most well thought out. Here is a hidden sonata form. The whole of Metamorphoses has, on the construction side, the following gradation line: first part a single, second song, third scherzo with trio and code, fourth is in hidden rondo, and the fifth hidden sonata form. The sonata form enabled Suchoň to approach to symphonic poems. The centre part – execution – clearly shows the horrors of the World War II., and the final Allegro moderato making the victorious motif of the cornet with its height of triumph and joyful pathos, announcing the end of man-slaughter and the longing for peace.

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The composer originally gave Metamorphoses the name of Variations on Own Themes. Well, it is not a matter of varying changes of one theme, eventually groups of themes, but a work rich in polytechnique. We may see a likeness of theme from works composed in the years of which Metamorphoses touch on. We do not, however, find anywhere direct speech, at least, not in important themes. There is metamorphosis in the real sense of the word, and as form, musically lived through events. In this way their kin-musical sounds are explained. The whole rings out as a great rhapsody with high concentrated conception. Suchoň is no seeker of new sound at any price, although this work, on the sound side, is unique in colouration. Neither does he seek at any price personal reverses in the melodic and harmonic, and yet he is personal, one might say, in each and every note of his.


\n (Jozef Kresánek, in: foreword to the score, Bratislava : Slovenské vydavateľstvo krásnej literatúry, 1959.)
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\n Movements:
\n\n Andante con moto\n 2' 51''\n
\n\n L'istesso tempo\n 3' 38''\n
\n\n Allegro moderato\n 7' 01''\n
\n\n Larghetto\n 7' 06''\n
\n\n Allegro feroce\n 11' 28''\n
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First performance in Slovakia

\n \n \n 22.10.1953,\n Bratislava,\n SK\n\n
Performers: Slovak Philharmonic, Ľudovít Rajter (dir.)\n
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