Sonata Cello Solo

Sonata For Cello No.2 - In Due Tempi is the second of Per Nørgård's four sonatas for cello solo consisting of Solo intimo (1953) and Solo in Scena (1980). ''Solo in scena' was composed in 1980 as a second and complementary movement to my one-movement cello piece of 1953 »Solo intimo«. The two works form a two-movementsonata 'in due tempi' the two movements uniting after 27-years. Each movement can also be performed separately.' Per Nørgård

Betty Roe's Epilogue is a quasi-Sonata written for Cello and Piano featuring an undulating melodic theme that continues to grow and embellish as the piece progresses. Suitable for the confident Cello soloist.

Fi'er, Lubo' Sonatas for Violoncello - Highly effective concert pieces - Fingering and bowing for the Sonata for Violoncello solo by Marek Jerie - Foreword by Joná' Hájek (Cz/Eng/Ger) This edition contains three cello compositions by Lubo' Fi'er: Sonata for Violoncello and Piano (1975), Sonata for two Violoncellos and Piano (1980), and Sonata for Violoncello solo (1985-1986). Lubo' Fi'er was a remarkable personality in the Czech music scene of the 20th century. He is known for combining traditional notation and aleatory elements. The music of the sonatas is dramatic and expressive. These are effective concert pieces with a performance duration of approximately eight minutes each. The edition is based on first prints of the works supplemented by various other sources. The part of the Sonata for Violoncello solo was revised by cellist Marek Jerie during the composer's lifetime.

Edited From The Sources And Realization Of The Figured Bass By Bernhard Moosbauer. Provided With Notes On Interpretation By Gerhardt Darmstadt.. Par VIVALDI ANTONIO. Les neuf sonates pour violoncelle et basse continue, par Antonio Vivaldi sont parmi les plus célèbres oeuvres violoncelles de l'époque Baroque. Grâce à leurs exigences techniques modérées, les pièces sont partie intégrante des leçons de musique ainsi que de fabrication de musique privée. Mais même pour la scène professionnel de la musique au début, ils forment un accent du répertoire violoncelle. La nouvelle édition de la Wiener Urtext édition répond aux besoins et exigences de tous les trois groupes cibles semblables, fournissant un texte musical fiable n'est plus fondé sur la première édition de Paris non autorisée par Le Clerc and Boivin, mais sur une copie de Naples révisé de Vivaldi lui-même ainsi que sur les deux autres manuscrits associés avec le compositeur de la Bibliothèque Nationale de Paris et de la bibliothèque de musique des comtes de Schönborn à Wiesentheid. Hormis la partie solo, l'édition comprend une note de piano (clavecin) avec réalisé basse continue, qui devrait être très bienvenue aux élèves et amateurs. Une partie de continuo latent basso a été ajouter.../ Répertoire / Violoncelle Solo, Clavecin ou Piano Violoncelle Co

For Violone-Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata Violino e Violoncino … di Giovannino del Violone. Giovannino (=Little or Young John) musthave been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that are known today (see Dart

A large-scale work in four movements lasting over half an hour Kalevi Aho's Sonata for violoncello and piano (2019) in four movements is furios virtuosic and poweful with a lyrical second movement. The third movement is a cello cadenza provided in two versions: with and without throat singing.