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| Veerhoff’s drive to recast traditional forms in the vocabulary of the avant-garde is particularly evident in his chamber music. For all its resolve and concision, his music language is highly expressive, and, at least partly, a result of his preoccupation with dodecaphony, from which he derived his own principles of composition. Two concerns lie at the center of his work: Many of his compositions are essentially a call for the preservation of the world, life, and the planet. And then there is his understanding of tradition as responsibility towards new ideas. The use of traditional forms and the way many of his pieces actually sound unmistakably refer to the expressive musical language of the Second Viennese School. Among these pieces are Klaviersonate No. 1, Violinsonate op. 47, and Streichtrio op. 56, all of which have three movements in the traditional tempi quick-slow-quick. By contrast, the piece 7 mal 1 op. 58 for percussion bewitches its audience with unvarnished expressions of Veerhoff’s “enjoyment of the musical development of sound and friendly irony” (Franzpeter Messmer). |
1CD | Contemporary | Special Offers |
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In 1951, after numerous solo compositions, Cage tried his hand at a piano concerto, naturally for the prepared variety. And in marked contrast to the concerto: Sixty-Eight.  |
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| Concentrated chamber music: Gerald Eckert captures the world of sounds in its manifold forms and shapes with meticulous care and maximum individuality. |
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| The master of the prepared piano tackles small musical forms with his accustomed originality in his Sonatas and Interludes. |
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