About the creation

This music in three movements was originally written for a treble recorder, a Baroque violoncello and a harpsichord. Such an instrumental ensemble doubtlessly had its repercussion on the character of the work: it has something of the spirit of the seventeenth century, maybe the eighteenth.

The first movement is a Baroque sonata movement par excellence: It has two sections, each ending with a repetition mark, i.e. the musicians are asked to repeat and play each section twice. Such a practice is unheard of nowadays and is even condemned as indecent in certain quarters. Contemporary musicians would often refrain from repeating certain sections in a Beethoven sonata, although Beethoven expressly demanded a repetition. The key word for understanding this unacceptable practice is "Performing". Today musicians do not play, nor do they sing. They "Perform". And if it is so, and if I have already "performed" a certain section of music, why perform it again? Well, let it be clearly understood, that this music in not intended for "performance". It is intended as something to play, or rather to play with, for musicians who love music, and whose heart sings along with it.

The second movement is a set of variations. Here the principle of repetition rules supreme. Here the repetitions are multiple: The theme has two sections, each repeated, although with a difference of instruments and character. And the entire theme is repeated five or six times (I did not bother to count), with its changing variations.                

The third movement is a classical rondo having, again, many repetitions. This is what I was trying to say: this music breathes the air of the seventeenth, maybe the eighteenth, century.