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 a connection 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 an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano

Urtext Edition, Piano reduction, paperboundFirst edition of the arrangement for double bass and string quartetPiano reduction and parts for string quartet in e minor/G major and f sharp minor/A major, parts for double bass in e minorwith marked and unmarked double bass partThe viola I and viola II parts for the alternative quintet arrangement (neither of which are included in the printed edition) can be downloaded free-of-charge. / Contrebasse Et Orchestre

Par SARASATE PABLO DE. with marked and unmarked string part/ Répertoire / Violon et Piano

Par SAINT-SAENS CAMILLE. with marked and unmarked string parts / Jost, Peter / Répertoire / Violon et Piano

Par MARCELLO BENEDETTO. with unmarked performance score (Vc/Basso) and marked part (Vc)/ Répertoire / Violoncelle et Piano

Par YSAYE EUGENE. with marked and unmarked string part/ Répertoire / Violon et Piano

with marked and unmarked string part. Par TCHAIKOVSKI PIOTR ILITCH. Le lieu cher auquel se réfère le titre de ce recueil de trois charmants morceaux pour violon et piano est Braïlov, propriété de la mécène et amie de Tchaïkovski Nadejda von Meck. C’est là que le compositeur passe le mois de mai 1878 et termine sa partition dans un isolement idyllique. Composé quasiment en même temps que son concerto pour violon, Souvenir d’un lieu cher témoigne aussi de son incomparable talent pour la mélodie romantique. Le spécialiste russe de Tchaïkovski Alexander Komarov, qui s’est chargé de préparer cette édition de la plus grande qualité, a consulté toutes les sources de l’oeuvre dans les archives russes et étrangères. Il a pu à cette occasion égalementréfuter clairement la thèse en cours selon laquelle le titre Souvenir d’un lieu cher n’aurait été ajouté qu’après la mort du compositeur. / Komarov, Alexander / Répertoire / Violon et Piano

Par DVORAK ANTONIN. with marked and unmarked string part/ Répertoire / Violoncelle et Piano

Learn the techniques of a current Broadway musician as you practice and play along with a recording of a full band. Music for 15 songs ? in styles ranging from jazz, bop, and swing to Dixieland, Latin, blues, and rock ? and downloadable MP3s offer chances to rehearse both melody and harmony.Each song is recorded three ways:1. Practice playing melody or harmony with the title tracks, MP3s 1-15, marked TT.2. Practice playing melody with harmony accompaniment, MP3s 16-30, marked HT.3. Practice playing harmony with melody accompaniment, MP3s 31-45, marked MT.These rehearsal routines are comparable to playing a 25-minute set with a live stage band! / Saxophone Alto

Music for 15 popular songs ranges in styles from jazz and blues to swing, Dixieland, bop, Latin, boogie woogie, and rock. Plus, downloadable MP3s allow tenor saxophonists to play along with a current Broadway musician. Each song is recorded three ways:1. Practice playing melody or harmony with the title tracks, MP3s 1-15, marked TT.2. Practice playing melody with harmony accompaniment, MP3s 16-30, marked HT.3. Practice playing harmony with melody accompaniment, MP3s 31-45, marked MT.These rehearsal routines are comparable to playing a 25-minute set with a live stage band! / Saxophone Tenor

Tonalité : D-Dur - Op.: 86 -. Par DVORAK ANTONIN. With its traditional forms and proven compositional models, its original ideas, which are sometimes marked by a folk- or folksong-like melodic character, and with its harmonic richness, Dvorák’s D major Mass serves in its liturgical context to express the worship of God. The Mass is characterized by lyrical meditation rather than by dramatic immediacy. Dvorák's Messe in D for SATB. With its traditional forms and proven compositional models, its original ideas, which are sometimes marked by a folk- or folksong-like melodic character, and with its harmonic richness, Dvorák’s D major Mass serves in its liturgical context to express the worship of God. The Mass is characterized by lyrical meditation rather than by dramatic immediacy. / Messe / Répertoire / Orchestre: Solistes SATB, Choeur SATB, 2 Hautbois,

Par BARNES JAMES. Risoluto is a music term of Italian derivation, first appearing in the mid 1700s. A great many musical terms such as this are in Italian, because many of the important composers from the Renaissance to the Baroque were from the geographic area known today as Italy and spoke some form of Italian. Consequently, performance markings in their published music, widely disseminated through the rest of Europe, were in the language that they best understood. Music marked in this manner is to be played firmly and decisively with firm resolve and little variance from the marked tempo. It can be seen that while there are several stylistic changes in this piece, the tempo varies not a bit, holding firm at Allegro vivo, quarter note at 120, from first measure to last. / Date parution : 2022-09-20/ Répertoire / Concert Band