Score Parties. Par BEETHOVEN LUDWIG VAN. When Beethoven wrote these three quartets he was 15 years old and a composition student of Christian Gottlob Neefe in Bonn. They reveal a strong Mozartian influence while the brilliant piano writing already gives a sense of the mature Beethoven. He may conceivably have written the works for the wealthy Mastiaux family in Bonn, as he gave piano lessons to one of the daughters and the other three siblings played violin, viola and violoncello. The sole source for the quartets is the autograph score which contains many overwritings that shed light on the works' original conception and possible alternative readings. Although Beethoven never published the pieces in his lifetime and is not known to have performed them, he reused their melodic and thematic material in later compositions. Beethoven preserved the autograph score to the end of his days ? perhaps an indication that the quartets meant a great deal to him. The first edition was published by Artaria in Vienna one year after his death, albeit with the pieces in a different order and with many errors in the musical text. Bärenreiter's scholarly performing edition of the Piano Quartets WoO 36 is edited by the Italian pianist Leonardo Miucci, a specialist in the performance practice of keyboard music from this period. The edition not only presents the correct readings, it also sheds light on the young Beethoven's expressive notation and provides a plausible explanation for the distinction he made between dots and strokes to indicate staccato./ Répertoire / Quatuor pour Piano, Violon, Alto et Violoncelle

Par DUNCAN CRAIG. Cette collection comprend douze pièces spécialement organisés pour violoncelle de oeuvres accessoires de Beethoven. Les pièces sont jouables en première position, sauf pour un e occasionnel au-dessus de middle c. Le livre commence avec les arrangements et les progresse dans le niveau de difficulté facile. La plupart des pièces piano double la mélodie pour aider à la performance. / Niveau : Débutant à Intermédiaire / Classic - Solos / Recueil / Violoncelle

Piano Reduction. Par BEETHOVEN LUDWIG VAN. En Triple Concerto de Beethoven, un trio pour piano fournit les solistes - une première dans l'histoire de la musique. Le traitement de Beethoven, le trio est un pionnier: il n'applique pas un paramètre trio de piano classique à la différence de l'orchestre, mais il varie son traitement des parties solistes, permettant à chaque instrument de jouer seul avec l'orchestre (notamment le violoncelle), en utilisant deux solo instruments ensemble dans des combinaisons toujours nouvelles, et enfin réunir les trois instruments de l'orchestre. Beethoven tisse une toile complexe - l'orchestre, piano, violon et voix de violoncelle interplaying et enlaçant - et il a produit un véritable chef-d'oeuvre. Urtext nouvelle édition Bärenreiter du Triple Concerto de Beethoven est une toute nouvelle révision de ce joyau chaud et beau. Erreurs abondaient dans toutes les éditions précédentes, mais avec l'aide de trois sources nouvellement découverts, rédacteur en chef Jonathan Del Mar a nettoyé le texte, corriger les fausses notes et les rythmes et (pour la première fois depuis 1807) ont présenté le travail d'une manière qui a musicien de l'époque de Beethoven aurait reconnu, avec toutes les informations nécessaires pour orienter la pièce inclus dans la partie de piano solo. - Réduction de piano avec des pièces séparées pour les trois solistes - S'appuie sur trois nouvelles sources - Correction de plusieurs erreurs figurant dans les éditions précédentes/ Répertoire / Violon, Violoncelle et Piano

C Major. Par BEETHOVEN LUDWIG VAN. In Beethoven’s Triple Concerto, a piano trio provides the soloists – a first in the history of music. Beethoven’s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra, but varies his treatment of the solo parts, allowing each instrument to play alone with the orchestra (particularly the cello), using two solo instruments together in ever new combinations, and finally bringing together all three instruments with the orchestra. Beethoven weaves a complex web – the orchestral, piano, violin and cello voices interplaying and entwining – and he produces a true masterpiece. Bärenreiter’s new Urtext edition of Beethoven’sTriple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions, but with the assistance of three newly-discovered sources, editor Jonathan Del Mar has cleaned up the text, corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven’s day might have recognized, with all necessary information for directing the piece included in the solo piano part. Piano reduction with separate parts for all three soloists Draws on three new sources Correction of many errors found in previous editions/ Répertoire / Piano, Violon, Violoncelle et Orchestre

Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Violoncelle

Par BEETHOVEN LUDWIG VAN. Les deux Sonates op. 102 composées en 1815 se tiennent à la frontière du style tardif de Beethoven, aux sonorités souvent austères. Un critique de l’édition originale déclara en 1818 qu’elles «font très certainement partie des choses les plus étranges et les plus bizarres qui aient été écrites depuis longtemps.» À partir du schéma classique établi, Beethoven explore ici les possibilités de transformation et d’élargissement de la forme sonate, qui font de l’opus 102 l’accomplissement final de ses œuvres pour violoncelle. Dans cette Sonate en Ut majeur, l’articulation formelle elle-même est inhabituelle: deux mouvements rapides, dont chacun est précédé par de brèves introductions dans un tempo lent – une structure formelle originale, restée singulière. L’édition Urtext de Jens Dufner se fonde sur ses travaux réalisés pour l’appareil critique de l’Édition intégrale des œuvres de Beethoven, et offre ainsi un texte musical d’un haut niveau scientifique. Dans la préface comme dans le commentaire critique, il expose la conception et la question des sources de cette sonate. Ian Fountain et David Geringas fournissent les doigtés./ Répertoire / Violoncelle et Piano

Par BEETHOVEN LUDWIG VAN. Many anecdotes surround String Quartet op. 131: Beethoven is said to have considered it to be his finest quartet and of his late period works, the one dearest to his heart. It is also believed that the composer invested so much of himself in it: his ailing health, the social isolation brought about by his deafness and the suicide attempt of his nephew Karl. In addition it was reported that Franz Schubert asked to hear this piece once more on his deathbed. Even if these anecdotes are not all true, they reveal what generations of musicians felt they heard in this quartet: Beethoven’s most personal musical idiom and a vulnerable message from the final period of his life. This new edition by Jonathan Del Mar represents a thorough revision of this highly complex work. Meticulously incorporated are Beethoven’s pencil markings that were previously almost completely ignored./ Répertoire / Quatuor à Cordes

Par BEETHOVEN LUDWIG VAN. Beethoven completed his String Quartet Op.135 at Wasserdorf Castle in Gneixenhof, where he sought to recuperate with his nephew Karl after the latter?s failed suicide attempt in summer 1826. It stands out among his late quartets owing to the often cheerful, almost pastoral character of its four movements. Since Beethoven?s death it has often been interpreted as an attempt to take wise and positive stock of the mishaps that had befallen him in the preceding years regarding his life situation, family and health. This interpretation is strongly suggested by the final movement, ?Der schwer gefasste Entschluss? (The Difficult Decision), with its motto ?Must it be' It must be! It must be!? The editing of this quartet proved especially complex, for the authentic sources were reworked at various stages by the composer. By judiciously assessing them, editor Jonathan Del Mar has managed to clarify many anomalies found in previous editions. - Beethoven?s final string quartet with many new readings - Introduction by Misha Donat (Eng/Ger), editor?s foreword by Jonathan Del Mar (Eng/Ger) and a scrupulous, separately published Critical Commentary (Eng) / Date parution : 2022-07-30/ Répertoire / Quatuor à Cordes

Par BEETHOVEN LUDWIG VAN. Beethoven completed his String Quartet Op.135 at Wasserdorf Castle in Gneixenhof, where he sought to recuperate with his nephew Karl after the latter?s failed suicide attempt in summer 1826. It stands out among his late quartets owing to the often cheerful, almost pastoral character of its four movements. Since Beethoven?s death it has often been interpreted as an attempt to take wise and positive stock of the mishaps that had befallen him in the preceding years regarding his life situation, family and health. This interpretation is strongly suggested by the final movement, ?Der schwer gefasste Entschluss? (The Difficult Decision), with its motto ?Must it be' It must be! It must be!? The editing of this quartet proved especially complex, for the authentic sources were reworked at various stages by the composer. By judiciously assessing them, editor Jonathan Del Mar has managed to clarify many anomalies found in previous editions. - Beethoven?s final string quartet with many new readings - Introduction by Misha Donat (Eng/Ger), editor?s foreword by Jonathan Del Mar (Eng/Ger) and a scrupulous, separately published Critical Commentary (Eng) / Date parution : 2022-07-30/ Répertoire / Quatuor à Cordes

Par BEETHOVEN LUDWIG VAN. Some of Beethoven ’s most enduring and unabashedly successful works stem from his so-called “Middle Period” and in the genre of chamber music, the quartets Op. 74 and 95 together with the recently issued Op. 59 quartets complete this period. Jonathan Del Mar’s scholarly critical edition of quartets Op. 74 and 95 sets the record straight once and for all, restoring Beethoven ’s articulation, dynamics and lengths of slurs as the composer originally intended. The interdependency of the sources and their readings are clearly laid out by Del Mar in his Critical Commentary, which also contains facsimile pages pointing out ambiguities with previouseditions. - Bärenreiter quality Urtext. - Critical Commentary (Eng) with facsimiles. - Study score includes historical introduction (Ger/Eng) by Barry Cooper. - Parts BA9018./ Répertoire / Quatuor à Cordes

This new scholarly-critical edition of String Quartet Op.127 the first of Beethoven’s late quartets follows upon Urtext publications of Opp.18 59 74 and 95.Once more the editor is the renowned Beethoven authority Jonathan Del Mar. All surviving sources have been consulted including sketches to clarify the conflicting readings in the autograph. Not only has Del Mar reconstructed Beethoven’s original beaming phrasing articulation and length of crescendo hairpins he has also corrected wrong notes that have taken hold in editions published over the years and has supplemented missing notes.Urtext edition at the cutting edge ofscholarship with detailed separate Critical Commentary (Eng)Parts ideally laid out for performance purposesParts (BA9029) & study score format 22.5 x 16.5cm (TP929) available for saleAlready published: String Quartets Op.18 BA 9016 parts TP 916 study scoreString Quartets Op.59 BA 9017 parts TP 917 study scoreString Quartets Opp.74 95 BA 9018 parts TP 918 study score

This text presents beginning cello technique and basic music reading fundamentals. There is an emphasis on using melodies and classical pieces to instruct each new concept. The 28 lessons include basic technique and reading skills, scales in the keys of D, G, C and F and bowing techniques such as dynamic contrast, slurs, accents, and staccato bowing. There are 47 melodies presented including works by Bach, Beethoven, Brahms, Handel, Mozart and other classical composers. The book includes access to online audio containing all of the exercises and pieces recorded with solo cello and piano accompaniment. It is useful as a teaching and practice tool as well as a performance accompaniment track. / Pédagogie / Date parution : 2018-05-04/ Méthode / Violoncelle

At the grave of Beethoven was commissioned by the Brodsky Quartet on the occasion of the bicentenary anniversary of Beethoven's opus 18. The title suggests admiration and a tribute towards Beethoven and the first movementwas inspired by the first four bars of opus 18 no.3.

Par BEETHOVEN LUDWIG VAN. En guise de véritable cadeau de bibliophilie, les éditions G. Henle présentent pour la première fois une édition fac-similé du manuscrit autographe du célèbre 'Trio à l'Archiduc' ('Erzherzog-Trio') op. 97. L'original est une partie de l'impressionante collection de manuscrits de musique classique de la Biblioteka Jagiello ska de Cracovie. C'est la star de piano Mitsuko Uchida qui a financé cette publication par un généreux don - sa contribution toute personnelle à ce grand jubilé. Julia Ronge, conservatrice de la collection du Beethoven-Haus à Bonn, est l'auteure d'une savante introduction concernant la genèse et les particularités du manuscrit. Les éditions G. Henleprésentent cette superbe édition en deux volumes - le manuscrit est noté tantôt en hauteur, tantôt en format oblong - dans un écrin richement décoré. En guise de véritable cadeau de bibliophilie, les éditions G. Henle présentent pour la première fois une édition fac-similé du manuscrit autographe du célèbre 'Trio à l'Archiduc' ('Erzherzog-Trio') op. 97. L'original est une partie de l'impressionante collection de manuscrits de musique classique de la Biblioteka Jagiello ska de Cracovie. C'est la star de piano Mitsuko Uchida qui a financé cette publication par un généreux don - sa contribution toute personnelle à ce grand jubilé. Julia Ronge, conservatrice de la collection du Beethoven-Haus à Bonn, est l'auteure d'une savante introduction concernant la genèse et les particularités du manuscrit. Les éditions G. Henleprésentent cette superbe édition en deux volumes - le manuscrit est noté tantôt en hauteur, tantôt en format oblong - dans un écrin richement décoré. / Classique / Répertoire / Violon, Violoncelle et Piano

Par BEETHOVEN LUDWIG VAN. Andante con Variazioni by Beethoven is a theme and variations written originally for mandolin and keyboard in 1796. It is arranged here for cello and piano by cellist Steven Isserlis and is a work full of charm and humour with a touch of pathos in the minor variation. It shows the young Beethoven at his most elegant.  / Instrumental Music / Répertoire / Violoncelle et Piano