Cello Sonata 1

Sonata no.1 in c minor op. 32-At the beginning of the 1870s Camille?Saint-Saëns showed a particular fondness for the Violoncello. He completed his first Cello Sonata in December 1872 immediately after finishing his first Cello Concerto.The sonata is strongly reminiscent of Beethoven not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding in parts highly virtuosicsonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire.?Henle's Urtext edition takes all surviving sources into account for the first time ever. PascalRogé and David Geringas kindly provided the markings for the Piano and Cello parts.

für Violoncello und Klavier / for Violoncello and Piano-Camille Saint-Saëns Allegro Appassionato Op. 43 for Cello and Piano. Urtext edition score.At the beginning of the 1870s Saint-Saëns displayed a particular partiality for theVioloncello. He composed his first Cello sonata in December 1872 immediately after having completed the first Cello concerto. It was presumably directly after this that he wrote the Allegro Appassionato for Celloand Piano op. 43 that also appeared in a version for Orchestra three years later.We do not know why he wrote the work but it is likely that after having written two weighty works for Cello Saint-Saëns wanted towrite something ?easier? that was also suitable as an encore. In this Henle Urtext edition David Geringas has kindly provided the fingering and bowing for the brilliant Cello part.

Ysaÿe’s Cello Sonata unlike its companion piece for Violin solo has remained relatively unknown. All the same it merits special attention as it was written at the same time as the Violin Sonatas andhas the same superior qualities of musicianship. Our edition draws on a previously disregarded autograph manuscript from a private collection that provides interesting insights not found in the original print. To accompany thepublication of Ysaÿe’s violin sonatas which Henle has also issued in 2004 we are now offering the Cello Sonata in an urtext edition prepared by Christian Bellisario with detailed editorial comments. Abrilliant addition to the repertoire for unaccompanied String instruments.

13 pieces of easy to intermediate standard ideal for lessons and concerts. As well as popular Baroque sonatas by the likes of Vivaldi and de Fesch, there are also some charming, lesser-known compositions by Lanzetti and Zocarini. Also included are Classical sonatas by J. C. F. Bach, Stephen Paxton and Beethoven alongside pieces from the Romantic era including Mendelssohn's Song Without Words Op. 109, Fauré's Sicilienne Op. 79 as well as two little pieces by Goltermann. / Violoncelle Et Piano

Immediately after finishing his second Violin Sonata op. 108 Fauré started work on a sonata for Cello and Piano in early 1917 thus realising a long-conceived plan. In their predisposition and attitude both works are very closely related. In the Cello sonata a sombre dramatic opening movement is also followed by a calm relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued but on account of increasing interest in Fauré?s complete late chamber music this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first criticaledition of this work. David Geringas a master of his craft supplied the markings in the Cello part.

André Previn is a German-American pianist conductor and composer. He is considered one of the most versatile musicians in the world today and is the winner of four Academy Awards for his film work and ten GrammyAwards for his recordings (and one more for his Lifetime Achievement).Previn wrote Cello Sonata (also known as ?Sonata For Cello And Piano?) for Yo-Yo Ma and it was first performed by thecelebrated cellist and the composer in 1993. The sonata in three movements (I. Vivace - Andante espressivo Allegro; II. Adagio; III. Allegretto Fast) was recorded as part of the album ?From OrdinaryThings?. For advanced (Grade 8+) level players. Total performance time is ca. 30 minutes.

Sonata no. 2 in g minor op. 117 for Violoncello and Piano-In contrast to the first cello sonata (HN 1357) composed four years earlier this substantially more catchy and playful second sonata enjoyed great success with audiences and critics right from the start. Friend and associate Vincent d???Indy wrote to Faur? the day after the premiere in May 1922: I would like to tell you how much I am still charmed by your so beautiful sonata. In it I found what is seemingly forgotten these days: music.??? It therefore comes as no surprise that the sonata rapidly found its way into the concert repertoire where it maintains an uncontested position to this today. The duo David Geringas and Markus Bellheim provided fingerings.

The first three movements of Johannes Brahms? E Minor Cello Sonata were composed in 1862 the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms? life however it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann?s advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata Op.38 by Cornelius van Vliet andEdwin Hughes Hugo Becker and Carl Friedberg as well as Julius Klengel. The cellists? van Vliet Becker and Klengel?s fingering and bowing allows for a better understanding of their performance practice. As such the Bärenreiter edition comes with a Cello part marked with fingering and bowing by the editors which are based on the practices of Brahms? contemporaries. We also provide an unmarked urtext part.An important part of this edition is the extensive preface. Firstly it informs about the works? origins early performances its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms? death a widening gulf developed between the composer?s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.- A pioneering Urtext edition.- With an unmarked Urtext part.- With a second part including fingering and bowing based on the practices of contemporaries of Brahms.- With an extensive Performance Practice Commentary.-

Sonata in G Minor for Solo Cello was written in 1924 and scored in four movements: Quasi a Piacere Cantabile Sostenuto Recitativo Liberamente Allegro Con Moto Perpetuo. Apparently inspired bythe seminal Kodaly Sonata for the same instrument it is a challenging piece suitable for any aspiring virtuoso performer. Sir Granville Bantock (1868-1946) was a British composer conductor and educator. Hechannelled his energetic and creative personality into many musical projects championing the works of Jean Sibelius founding the City of Birmingham Symphony Orchestra and composing many splendid classical pieces. Viewed by hiscontemporaries as out-of-date his music is now being appreciated as one of the last great contributions from the English Romantic movement.

Felice Maria Picinetti is one of those composers who did not make a lasting mark on the history of music. He is believed to have been active as a cellist in Dresden around 1733. His cello sonata hints at a lively temperament and a solid training in the Baroque sonata da chiesa style. It affords cellists a welcome opportunity of performing Baroque music as a soloist instead of as a continuo player.

An Urtext Edition of Frederic Chopin's Cello Sonata In G Minor Op.65 as edited by Ewald Zimmermann. Piano fingering by Klaus Schilde and Cello fingering and bowing by Claus Kanngiesser.

I - Lento II - Imposante III - Andante Programme Note In my early television remembrance I recall a broadcast with Samuel Beckett one of the fathers of the absurd play and drama. At one time Beckett looked the viewer (the camera) in the eye and said:'What! - is the Word'. I have not since been able to forget it obviously having borrowed this ambiguous sentence as title for this short cello sonata. The fact that it is conceived as a unity is obvious from the fact that the two outer movements are closely related. The long immediately recognizable melodic line which dominates the first movement appears in the third movement aswell first in an inverted version and then almost identical to its original appearance only shorter. In contrast the middle movement is a fast one constantly and intensely on the move with many changes of pulse and meters as well as large melodic leaps. And while the outer movements each are composed as a single melodic line the middle movement makes extensive use of the cello as a polyphonic instrument employing lots of chords double stops and flageolet effects. Per Nørgård (2010)

Bernhard Heinrich Romberg\'s Cello Sonata In E Minor Op.38 No.1 is part of the Dowani 3 Tempi Play Along Series and includes a CD of backing tracks and a full performance.