Madsen’s Sonata for tuba and piano (Op. 34) is a good example of the composers idiomatic style. Here, he makes no attempt to expand the expression by defying the nature of the instrument, for example by composing in the outer limits of its register or making use of the more unconventional forms of execution. The whole sonata, with its mild chromatic, flowing melody and moderate tonal style, is thus extremely ‘musikantisch’ (a pleasure to play and to listen to). This is obviously a work for musicians and audiences and not against them.
The sonata has three movements, and the scherzo-like second movement offers a contrast to the moderately fast first and third movements. The themes of these movements are closely related (fifths and fourths) and gives the sonata uniformity. The opening themes in the first and second movements make up the middle part of the third movement.