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2 Stücke Op. 5 (KLENGEL JULIUS)
20.50 EUR
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4 Cellos
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2 Stücke Op. 5 (KLENGEL JULIUS)
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Sonata for Violoncello and Piano E minor op. 38
Cello, Piano
Barenreiter
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...
(+)
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da Costa / Kate Bennett Wadsworth. For cello and piano. This edition: Urtext edition. Stapled. With an Urtext solo part by Clive Brown and a solo part with bowing and fingering by Kate Bennett Wadsworth; Fingering in the piano part by Neal Peres Da Costa; Performance Practice Commentary by C. Brown, N. P. Da Costa and K. B. Wadsworth. Level 3. Score and part. Text Language: German/English. Opus 38. Published by Baerenreiter Verlag
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Sonatas in F minor and E-flat major, Edition for Clarinet and Piano op. 120
Clarinet and Piano
Barenreiter
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown; Neal Peres Da Co...
(+)
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown; Neal Peres Da Costa. For clarinet and piano. Score with parts. Opus 120. Published by Baerenreiter Verlag
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Sonatas in F minor and E-flat major for Viola and Piano op. 12
Viola, Piano
Barenreiter
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...
(+)
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da Costa. For viola and piano. This edition: urtext edition. Paperback. Level 3. Score with parts. Opus 120. Published by Baerenreiter Verlag
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Vier Stucke op. 33
4 Cellos
Breitkopf & Härtel
By Julius Klengel. For 4 cellos. This edition: paperback. Edition Breitkopf. 32 ...
(+)
By Julius Klengel. For 4 cellos. This edition: paperback. Edition Breitkopf. 32 pages. Published by Breitkopf and Haertel (German import).
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Zwei Stucke op. 5
4 Cellos
Breitkopf & Härtel
By Julius Klengel. For 4 cellos. This edition: paperback. Edition Breitkopf. 16 ...
(+)
By Julius Klengel. For 4 cellos. This edition: paperback. Edition Breitkopf. 16 pages. Published by Breitkopf and Haertel (German import).
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Drei Stucke op. 62
Breitkopf & Härtel
By Julius Klengel (1859-1933). For 2 Cello, Piano (Organ). This edition: paperba...
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By Julius Klengel (1859-1933). For 2 Cello, Piano (Organ). This edition: paperback. Edition Breitkopf. 20 pages. Published by Breitkopf and Haertel
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Sonata in F major for Violoncello and Piano op. 99: Cello: Instrumental Work
Cello, Piano
Barenreiter
Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. Th...
(+)
Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the Cello part and the composer himself was his partner at the Piano. Even though the work was generally received positively it took some years until it was fully appreciated and gained its irrevocable place in the Cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata Op.99 by Hugo Becker and Carl Friedberg as well as by Julius Klengel. Both cellists Becker and Klengel had aconnection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such the Barenreiter 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 work's origin 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 into 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
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Sonata in E minor for Violoncello and Piano op. 38: Cello: Instrumental Work
Cello, Piano
Barenreiter
The first three movements of Johannes Brahms? E Minor Cello Sonata were composed...
(+)
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.-
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4 Stücke Op. 33 (KLENGEL JULIUS)
4 Cellos
[Sheet music]
Breitkopf & Härtel
Par KLENGEL JULIUS. / Répertoire / 4 Violoncelles
27.30 EUR - Sold by LMI-partitions
(Seller in french langage)
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3 Stücke Op. 62 (KLENGEL JULIUS)
2 Cellos, Piano
[Sheet music]
Breitkopf & Härtel
Par KLENGEL JULIUS. / Répertoire / 2 Violoncelles et Piano ou Orgue
23.60 EUR - Sold by LMI-partitions
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Klengel Julius - Vier Stucke Op. 33 - 4 Cello
Breitkopf & Härtel
Composer : Klengel, Julius Instrumentation : 4Vc
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3 Suites Op. 131C For Violoncello Solo
Cello
[Study Score / Miniature]
G. Henle
Max Reger composed his Three Suites for Violoncello solo in 1914/15 for three im...
(+)
Max Reger composed his Three Suites for Violoncello solo in 1914/15 for three important cellists and teachers of the time: Julius Klengel, Hugo Becker and Paul Grümmer. Klengel was also friends with the composer. Reger humorously told him of his Opus 131c in summer 1915, calling them 'strapping triplets?. He asked the cellist to 'use these three things as often as possible in your lessons?, although they presuppose a great degree of skill on the students' part. For all those who wish to conquer these works in theory, we are now also offering our Urtext edition of the Suites (HN 478) as a study score. / Violoncelle
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Johannes Brahms: Sonata in G major for Violin and Piano op. 78: Violin:
Violin and Piano
Barenreiter
A pioneering set of Urtext editions.String editions include an Urtext solo part ...
(+)
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.Bärenreiter?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 offertoday?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.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.
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