Sonata for violin and piano

It is one of Casals’ most complex works and reveals his closeness to Mediterranean chamber music, which he knew well thanks to systematically and persistently promoting it through the Cortot-Thibaud-Casals trio.

Between the violin and piano notes, nineteenth century Mediterranean references emerge like some of the resources that were fashionable in Ravel’s Paris and those used by some of the Groupe des Six members.

It similarly reveals his familiarity with the Franco-Belgian repertoire, present in certain aspects of the violin virtuosity developed in the Belgian school of violin fostered by Vieuxtemps, Ysaÿe (whom he knew well as they worked together) and Crickboom.
Xosé Aviñoa