Sonata for violoncello and piano

Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in the violin repertoire, a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.Franck's friend, the cellist Jules Desart, was so impressed when he heard the Violin Sonata performed at the Société nationale de musique in Paris that he adapted the work for his instrument. This arrangement was first published in 1887 by inserting the cello part into the piano score of the original edition. For this purpose the piano score had received a new cover and the publisher had expanded the title of the composition to 'Sonate pour piano et violon ou violoncelle?. This version by the cellist Jules Delsart for piano and violoncello is the only arrangement of the work authorized by the composer and its first edition represents the main source for Bärenreiter's new scholarly-critical publication.Bärenreiter's new edition also includes a separate movement, 'Mélancolie?, first published after Franck's death in 1911, again for the same instrumentation, piano and violin or violoncello. This short piece is based on a solfège exercise and was written at the height of the composer's creative powers, at about the same time as his famous violin sonata.The edition is rounded off by an informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng), a complete list of sources, editorial notes and a Critical Commentary (Eng).- Pioneering new Urtext edition- Informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano

Ausgabe für Violoncello. Par SCHUBERT FRANZ. Une bonne intention n’est jamais assez bonne (d’après Kurt Tucholsky): l’Arpeggione, cette sorte d’hybride – une grande guitare frottée par un archet – n’a jamais réussi à s’imposer auprès des musiciens. Cette curiosité organologique serait certainement déjà tombée depuis longtemps dans l’oubli le plus total si précisément Franz Schubert n’avait pas composé sa sonate en La mineur pour cet instrument. Et cette oeuvre en trois mouvements est vraiment immortelle. Mais elle pose aussi un problème pour l’Urtext, car sans certaines interventions dans le texte, la partie d’arpeggione originale ne pourrait être exécutée sur l’instrument le plus proche au niveau du timbre, àsavoir l’alto ou le violoncelle. La maison d’édition G. Henle résout ainsi le dilemme: d’une part, la partie d’arpeggione originale est superposée à la partie de piano originale (partition), de l’autre, dans la partie séparée jointe à la partition les rares changements d’octaves indispensables sont clairement indiqués. Il était hors de question pour nous d’envisager une autre partie – le violon par exemple (comme dans l’édition Diabelli parue après la mort du compositeur), la flûte ou tout autre instrument mélodique à tessiture aiguë – car toutes ces alternatives s’écartent trop des représentations de timbre que pouvait avoir Schubert. Dans le meilleur des cas, on pourrait envisager – pourquoi pas? – une partie de contrebasse. / Partition brochée / Répertoire / Violoncelle et Piano

Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Professionnel ou amateur de Classique vous apprécierez cette partition de musique. Composée par Brahms Johannes et éditée par Henle cette partition est idéale pour les joueurs de Violoncelle. Si l'instrumentation Violoncelle Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Violoncelle Et Piano / Chanson En Séparée

Professionnel ou amateur de Classique vous apprécierez cette partition de musique. Composée par Mendelssohn Bartholdy Felix et éditée par Henle cette partition est idéale pour les joueurs de Violoncelle. Si l'instrumentation Violoncelle Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Violoncelle Et Piano / Chanson En Séparée

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Flute Sonatas, Volume I (The four authentic Sonatas - with Violoncello part) qui a été écrite pourFlûte Traversière Et Piano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 269. / Flûte Traversière Et Piano / Chanson En Séparée

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Flute Sonatas, Volume II (3 Sonatas ascribed to J. S. Bach - with Violoncello part) qui a été écrite pourFlûte Traversière Et Piano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 328. / Flûte Traversière Et Piano / Chanson En Séparée

Les sonates pour violoncelle de Brahms comptent peut-être parmi les plus belles pages jamais écrites pour cet instrument. La parution de ces deux pièces dans la nouvelle édition complète des oeuvres de Brahms est l'occasion pour nous de publier une nouvelle édition Urtext de la Sonate en Fa majeur. Comptant parmi les 'classiques' de notre catalogue (jusqu'à présent HN 19), celle-ci est nouvellement gravée d'après les derniers résultats de la recherche et enrichie par des informations détaillées de Johannes Behr sur la genèse et le travail éditorial. La partie de piano et celle de violoncelle sont doigtées. Une partie de violoncelle sans doigtés est également jointe. / Violoncelle Et Piano

Famous in his day, the Austrian composer and pianist Johann Nepomuk Hummel (1778-1837) studied with Mozart and befriended Beethoven.Among his many works is a relatively late sonata for violoncello and piano composed in 1824 and published in 1826 - a delightful early Romantic piece in three movements supported by a capricious piano part.The expressive cello cantilena in the 'Romance? will capture the heart of every cellist.Our edition, edited by Mark Kroll, is the first scholarly-critical publication of this sonata. It is based on the first edition of 1826 and the autograph manuscript, which served as a master copy for the engraving.A comparison of the sources brought to light a number of details overlooked in the first edition, especially with regard to dynamics.- A must for all cellists and lovers of chamber music- Notes on performance practice in the Foreword (Ger/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano

Facilement identifiable par son ISBN 9790201841618 cette pièce Works for Violoncello and Piano appartient à la collection désormais incontournable Linde, Bernhard Van Der.Composée pour Violoncelle par le célèbre compositeur Beethoven Ludwig Van ce sont les éditions Henle qui on eu l'honneur d'imprimer cette partition. / Violoncelle Et Piano / Edition Complète

Franz Schubert wrote his Arpeggione Sonata for piano and arpeggione, a hybrid instrument that was part guitar, part violoncello and fashionable at that time. Today, the piece has become a standard work for violoncello and piano, an instrumentation chosen for the present edition as well. For the few players of an arpeggione, a solo part is available at www.wiener-urtext.com [1]. The edition follows, for the most part, the text of Schubert's extant autograph. / Violoncelle Et Piano