In each of the three movements of this work, a distinctly contemporary harmonic language is employed within Baroque and Classical forms. As in J.S. Bach's unaccompanied suites and partitas for violin and cello, the solo instrument is treated in a way that creates the impression of counterpoint from single melodic lines, achieved through techniques such as registral displacement of pitches and corresponding dynamic and articulation changes. This is particularly evident in the Passacaglia. The lively Rondó which closes the work juxtaposes a metrically strict ritornello theme (based on a Colombian folk rhythm) with free rhapsodic passages, which in turn reflect the unmetered freedom of the opening Toccata, creating an overall form which is a skillfull balance of variety and unity.
The audio samples below are played by Luis Rossi and taken by permission from the CD Fantasia sul América (AREPO, NR-1104).
The audio samples below are played by Luis Rossi and taken by permission from the CD Fantasia sul América (AREPO, NR-1104).
