Sonata II for Violoncello and Piano in G Major

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

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 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

Unlike some of his other late works, Franck's Violin Sonata (HN 293), composed in 1886, was well-received by the public and critics from the very start. The beautiful arrangement for cello published in January 1888 distinguishes itself from the numerous other arrangements in that Franck expressly authorised it. The cellist Jules Delsart, who had heard a performance of the sonata in Paris in December 1887, was so delighted by it that he asked Franck's permission to make a transcription of the violin part for his own instrument. Delsart remained close to the original- he left the piano part unaltered and transposed the violin part only where necessary and appropriate into the lower register. / Violon

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

Revisione Sull'Autografo Di Rina You. Par PILATI MARIO. The artistic production of the Neapolitan composer Mario Pilati (Naples, 1903-1938) has recently been undergoing a reappraisal. Having died at a young age, he never had the opportunity to gain the recognition he deserved, and much of his music has, in fact, fallen into oblivion. Less well-known than his Sonata in La (Sonata in A major) written a few years later for the same formation, his Sonata per violoncello e pianoforte (Sonata in D major for cello and piano) was composed in 1922 when the composer was nineteen years old, in the ninth year of his compositional studies in the class of Maestro Antonio Savasta. The Sonata, based on the opening of a piece by Carl Reinecke, is in sonata form, and develops over a single movement. In the piece, which has got clear post-romantic connotations, the expressive vein, singing lines and lyricism that would also distinguish Pilati’s later works can already be heard. / Niveau : Intermédiaire / Date parution : 1905-07-10/ Répertoire / Violoncelle et Piano

Facilement identifiable par son ISBN 9790201841625 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

This first publication of the Sonata in D major is based on Barenreiters series Camille Saint-Saens OEuvres instrumentales completes. Although we know from correspondence that two complete autographs existed, only an incomplete autograph source containing the 1st movement and part of the 2nd movement, which breaks off, have come down to us. In his final work for violoncello Saint-Saens juxtaposes highly rhythmical episodes with more poetic ones. These contrasts are reinforced by bold shifts of harmonic coloring and a highly inventive thematic development. These movements are destined to become standards for cellists. / Violoncelle Et Piano

The present volume contains a selection of very easy recital pieces for violoncello and piano which can be played in the first position after 1-2 years of cello lessons. The selected pieces are original works from the Renaissance period to the present day: from the Baroque minuet, the classical sonatina or the Romantic character piece to contemporary music and tango, blues or pop. The pieces are suitable for individual, group and chamber music lessons, for practising on one's own and especially for the first auditions, concerts or competitions. A musical journey through 500 years of cello music! / Violoncelle Et Piano

Score + Parties. Par BEETHOVEN LUDWIG VAN. Beethoven wrote his Horn Sonata op. 17 for Johann Wenzel, one of the most famous horn players of his day. According to an anecdote from Beethoven's pupil Ferdinand Ries, he only completed it on the day before the première. Nevertheless, the piece was a rousing success. As the horn part demands a masterly technique, the publisher of the first print, Tranquillo Mollo et Comp., issued the piece in 1801 with an alternative part for violoncello. Since the autograph score has not survived, Jonathan Del Mar has based his scholarly-critical edition mainly on this first print. Misha Donat provides an informative Foreword on the work's history and genesis (Eng/Ger) and the edition is rounded off by a Critical Commentary (Eng) with a complete description of the sources as well as a page in facsimile./ Répertoire / Piano, Cor ou Violoncelle