Sonata for Cello and Piano
The principal theme of the first movement emerges from the ostinato figure in the piano accompaniment. Double stops in the cello part introduce the lyrical second theme. A vigorous closing section follows. A development section precedes a recapitulation of the expository material. The coda completes the classical sonata form evident in this movement. The slow second movement is structured in three sections. The second part contains a canonic dialogue between the piano and the cello. In the third movement, the fugal exposition gives way to a jazz-like section that uses syncopated figures over an ostinato bass in the piano. The final statement of the fugal subject consists of note values one half of those used in previous statements. This precipitancy leads to a brief, but exciting coda.