Symphoniae Sex Senaeque Sonatae. Par WERNER GREGOR JOSEPH. Symphoniae sex senaeque Sonatae (Richard Moder). Jeweils eine dreisätzige Symphonia und eine viersätzige Kirchensonate bilden ein Paar, die beiden Stücke stehen einander meist tonartlich nahe, sind aber in . . . / Niveau : 2/2/2 - 3/2 / Répertoire / Musique de Chambre

Symphoniae Sex Senaeque Sonatae. Par WERNER GREGOR JOSEPH. Symphoniae sex senaeque Sonatae (Richard Moder). Jeweils eine dreisätzige Symphonia und eine viersätzige Kirchensonate bilden ein Paar, die beiden Stücke stehen einander meist tonartlich nahe, sind aber in . . . / Niveau : 2/2/2/2 / Répertoire / Musique de Chambre

The renowned Czech bass player, composer and conductor Franti?ek Hertl (1906-1973) led the double bass section of the Czech Philharmonic during the Václav Talich era and later taught at the Conservatory and the Academy of Musical Arts in Prague. An outstanding virtuoso, he had a consummate mastery of his instrument's expressive potential and sound qualities. He also wrote successful concert and teaching pieces for his instrument. Composed in 1946, Hertl's only Sonata for Double Bass and Piano in three movements is a work of artistic and technical challenges that has maintained its place in the double bass repertoire to the present day.o New edition of a major repertoire piece for double bass o Foreword (Cz/Eng/Ger) by Hertl's last pupil, Jan Balcar / Contrebasse Et Piano

Par BRAHMS JOHANNES. Brahms compose seulement trois sonates pour violon et piano, toutes les agrafes du répertoire partout, étudié, pratiqué et joué par des joueurs de musique de chambre. Les musiciens et les étudiants de musique seront ravis de posséder les trois oeuvres présentées dans cette compilation en un seul volume, tiré à part éditions faisant autorité. Les deux Sonata #1 in G Major, Op.. 78, et la Sonate n o 2 en la majeur, op. 100, sont intensément lyrique dans la nature, contenant certaines des plus belles mélodies expressives et Brahms. Sonate n o 3 en ré mineur, op. 108, un travail tumultueux plein de feu et de passion, est un favori particulier avec le public à travers le monde. La partie de violon, édité par le célèbre artiste et professeur Leopold Auer, apparaît à la fois dans le livre et en tant qu'entité distincte, le score amovible. / Niveau : Avancé / Répertoire / Violon et Piano

Par FAURE GABRIEL. 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. / Kolb, Fabian / Répertoire / Violoncelle et Piano

Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in the violin repertoire, a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.Franck's friend, the cellist Jules Desart, was so impressed when he heard the Violin Sonata performed at the Société nationale de musique in Paris that he adapted the work for his instrument. This arrangement was first published in 1887 by inserting the cello part into the piano score of the original edition. For this purpose the piano score had received a new cover and the publisher had expanded the title of the composition to 'Sonate pour piano et violon ou violoncelle?. This version by the cellist Jules Delsart for piano and violoncello is the only arrangement of the work authorized by the composer and its first edition represents the main source for Bärenreiter's new scholarly-critical publication.Bärenreiter's new edition also includes a separate movement, 'Mélancolie?, first published after Franck's death in 1911, again for the same instrumentation, piano and violin or violoncello. This short piece is based on a solfège exercise and was written at the height of the composer's creative powers, at about the same time as his famous violin sonata.The edition is rounded off by an informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng), a complete list of sources, editorial notes and a Critical Commentary (Eng).- Pioneering new Urtext edition- Informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano

Unlike some of his other late works, Franck's Violin Sonata (HN 293), composed in 1886, was well-received by the public and critics from the very start. The beautiful arrangement for cello published in January 1888 distinguishes itself from the numerous other arrangements in that Franck expressly authorised it. The cellist Jules Delsart, who had heard a performance of the sonata in Paris in December 1887, was so delighted by it that he asked Franck's permission to make a transcription of the violin part for his own instrument. Delsart remained close to the original- he left the piano part unaltered and transposed the violin part only where necessary and appropriate into the lower register. / Violon

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

Sonate pour piano n o 4 en mi bémol de Beethoven Op.7 'Grand Sonata' est maintenant disponible en version individuelle avec un CD d'accompagnement, édité et enregistré par le célèbre érudit Beethoven, Robert Taub. / Piano

Considéré par beaucoup comme le dernier représentant du classicisme viennois, Ludwig Van Beethoven, mort à 57 ans est un génie qui a composé quantité d'oeuvres dont Piano Sonata No. 21 C major op. 53 (Waldstein) pour Piano. Ce sont les éditions Henle qui ont éditées cette oeuvre de Ludwig Van Beethoven. Il ne vous reste plus qu'à la jouer. / Piano / Partition

Considéré par beaucoup comme le dernier représentant du classicisme viennois, Ludwig Van Beethoven, mort à 57 ans est un génie qui a composé quantité d'oeuvres dont Piano Sonata No. 5 c minor op. 10,1 pour Piano. Ce sont les éditions Henle qui ont éditées cette oeuvre de Ludwig Van Beethoven. Il ne vous reste plus qu'à la jouer. / Piano / Chanson En Séparée

Op. 82. Par ELGAR EDWARD. Edward Elgar spent the summer of 1918 in the countryside. In August he received reports of the approaching end of the First World War, and this good news so inspired him that he was able to finish an initial draft of his great Violin Sonata in barely four weeks. Writing about it in his diary, he notated laconically: “Wrote some music”. His wife Alice was more enthusiastic: “E. writing wonderful new music, different from anything else of his”. This magnificent music is now available in a Henle Urtext edition by the British violinist and Elgar expert Rupert Marshall-Luck. He has examined and evaluated the many sources according to all the rules of Urtext editing –the sketches, drafts, autograph fair copies, proofs and first edition. / Marshall-Luck, Rupert / Répertoire / Violon et Piano

Considéré par beaucoup comme le dernier représentant du classicisme viennois, Ludwig Van Beethoven, mort à 57 ans est un génie qui a composé quantité d'oeuvres dont Piano Sonata no. 12 in A flat major op. 26 pour Piano. Ce sont les éditions Henle qui ont éditées cette oeuvre de Ludwig Van Beethoven. Il ne vous reste plus qu'à la jouer. / Piano / Chanson En Séparée