|Subheading / Parts
|Núms. 9, 10
|score + part
|Els duos 11, 12 i 13 els trobaràs a la referència DE602
|Price of print edition
As a string instrumentalist, F. Fleta Polo has always shown a special fondness of the instruments within this family and they are the protagonists of the majority of his works. In recent years, and particularly since 2005, Fleta has composed a series of duet concertos for string instruments and piano: five for violin, five for viola, five for cello and one for double bass. This is the edition of the Five concertante duos for viola and piano, numbered 6 to 10, as the first five duets of the series are for violin (CLIVIS ref: E594 and E595).
They are short but intense, expressive and idiomatic works which move through different airs, tempos and rhythms. The author is a real expert in the instrument he composes for and he knows how to exploit its possibilities in a way that is not at all forced. The five duets are dedicated to his good friend and viola player, Abili Fort, who has always encouraged the composer to write, to never leave his pen aside, and who has also promoted the publication and performance of Fleta Polo’s works.
Each one of the Five concertante duos for viola and piano are made up of two contrasting movements. Duet no. 6 starts with a playful and lively movement, with an insistent rhythm that is complemented by a more lyrical Andante. Duet no. 7 features a notable second half, with a constant intense movement and a finish in the high-pitched range, creating great effect. Despite the fact that Fleta’s duet concertos are not virtuoso works, it is not uncommon to find passages that are highly difficult for performers. Duet no. 8 is an example of this, with a very demanding level of chamber music work. The constant rhythm or, as the composer says, “the Mediterranean rhythm of my works” is present throughout the score, although it often appears in a subtle way, like in Duet no. 9, which culminates in an energetic finish. The highlight of the last duet, number 10, lies in the different treatments he gives to the same rhythmic and melodic figure throughout the work, both in one instrument and the other.