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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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| Recommendation |
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The conrabass is the stepchild of the string section. Stefano Scodanibbio manages to produce sounds -- new and unheard so far!  |
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| The waves of the Atlantic "beating upon the shores of the Canary Islands:" the Concierto Atlántico. Also on this album: La Luz del Aire, Latir Isleño and Soledad. |
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| Kabbala, oratorio in Hebrew, originally composed for the „Mittelfest“ in Cividale del Friuli/Italy and first released by col legno in 1993, has been re-released. |
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