SONATE N 1 OP.75 VIOLONCELLE PIANO (SAINT-SAENS CAMILLE)

Par MYASKOVSKY NIKOLAI. Nikolaï Miaskovsky's Sonate No. 1 Op. 12 for Cello. Nikolaï Miaskovsky's Sonate No. 1 Op. 12 for Cello./ Répertoire / Violoncelle et Piano

Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano

Par LAKS SIMON. Szymon Laks 'Sonate pour violoncelle en 1936 par Maurice Maréchal, les violoncellistes de renom français de son temps, et le spécialiste de Ravel Vlado Perlemuter dans Laks 'la maison de Paris a adopté soulevé par le baptême. Cette plante élégante, virtuose et parfaitement en forme est le Néoclassicisme français et - surtout dans sa seconde (blues) et le troisième mouvement (Perpetuum mobile) - Ravel engagé. Elle montre un jeune compositeur à la hauteur de sa maîtrise, qui se trouvait sur son chemin vers le succès international, comme le déclenchement de la 2e Seconde Guerre mondiale et la collaboration du régime de Vichy et l'Allemagne nazie, sa carrière a pris fin abruptement. Laks a été déporté à Auschwitz et a survécu à l'Holocauste comme un meneur d'hommes dans la chapelle du camp d'extermination de Birkenau. Ce joyau de la littérature pour violoncelle était épuisée depuis des décennies et est finalement vu et corrigé par une réimpression de la première édition à nouveau disponible. '... Un travail unique et inoubliable à partir de 1932, les influences du jazz, intense contrepoint comme Ravel et alla montre Honneger, mais qui est vraiment différent de tout ce dans le répertoire. Après un Andante Allegro robuste et bluesy suivie par un transfert modal avec brio attractif finales, presque minimaliste dans ses ostinatos hypnotiques. ' BBC Music Magazine / Niveau : Avancé / Répertoire / Violoncelle et Piano

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.