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Part of the CD-booklet-text by Walter Labhart: With his Cello Sonata, written 2005 for his wife, cellist Pi-Chin Chien, Müller takes as his starting point the genre’s great models of the 19th and early 20th centuries. His Sonata is in the traditional three movements (lively – slow – fast), though he treats the form of the sonata per se with considerable freedom. Müller prefers to concentrate on a small amount of thematic material in his works, which he then endeavours to show continually in a new light. The themes from which the second and third movements of his Cello Sonata are developed are already to be found, in germinal form, in the first movement. The Sonata begins with a lyrical theme that emerges from a single tonal centre. This theme threads its way through the whole movement, reaching several dramatic climaxes. This first movement allows the cello ample space to unfold its lyrical, singing nature, while the ensuing slow movement exudes a dark, fragmented, mystical atmosphere. The final, fast movement is determined by an urgent pulse, and demands considerable virtuosity from both cellist and pianist. This movement is akin to a scherzo, is at times even jazzy, and its character is determined by sixteenth-note patterns that are interwoven contrapuntally, together with a dance-like theme.
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