Cello Sonata Vol 1: Cello: Instrumental Album

SKU: BR.EB-9406

ISBN 9790004188804. 9 x 12 inches.

Raff's Cello Sonata op. 183 appeared in print in late 1873; at a time when Raff's success was at its zenith with Symphonies Nos. 3 and 5 as well as many chamber works. Little is known about the circumstances of its genesis and possible performances. Since Raff did not dedicate this sonata to any distinguished artist, unlike most of his other chamber works, it apparently lacked a drawing card for distribution. While Raff composed several well-known works for violin and piano, the present cello sonata is one of his few outstanding works for cello and piano. Incidentally, in the first edition, the score is headed for piano and cello, as was quite often the case in the 19th century, for instance also with Brahms's sonatas. This is also evident in the music: Cello and piano are equal partners that develop the musical material and are challenged both technically and artistically. This current edition contains an Urtext cello part as well as a part with markings by Claus Kanngiesser. In collaboration with the Joachim-Raff-Archiv Lachen (CH)

With a preface by Severin Kolb. Contains 2 cello parts.

SKU: BR.EB-32072

For Sonata No. 1 in D major Op. 6 please click he re.

ISBN 9790004186619. 9 x 12 inches.

Eduard Franck's two Violoncello Sonatas opp. 6 and 42 were published in 1843 and 1882, respectively, thus, almost 40 years apart. Although no authentic manuscripts sources are extant, the sonatas were likely composed fairly close to the years of their publication. That for decades Eduard Franck was reluctant to publish some of his works is well known; this then led him, only a few years before his death, to pour out a cornucopia of new compositions, some of them composed decades earlier. With this new edition of the two sonatas we are offering an important addition to the field of romantic cello sonatas.

SKU: BR.EB-32083

With supplementary violoncello part marked by Maria Kliegel

ISBN 9790004186299. 9 x 12 inches.

There are many composers about whom it is believed, today, that they composed conservatively, or against the taste of their time. The question is also raised, today, which extract of this large amount of effective and high-quality music, unknown for the most part, should receive our attention; which of it is worth rediscovering or re-editing. Camillo Schumann is one of the most important representatives of these composers, but his works are still largely unknown today. He was born on 10 March 1872 in Konigstein, Saxony. His musical language combines the sound world of Brahms with the grand, late-romantic Liszt School. He wrote piano parts of incredible power and virtuosity, approaching the sounds of Rachmaninoff. His wonderfully individual melodic language makes these works a valuable testimony to a composer who never had his due recognition. The cello sonatas Opp. 59 (EB 32082) and 99 (EB 32083) are the first of three works for this combination. Op. 59 was composed around 1905/06, Op. 99 followed in 1932. Nothing is known so far of the circumstances of the composition of this work, including for whom it was composed. However, it is quite evident that Schumann wrote it, like most of his works, primarily for his own concerts and befriended musicians. The extensive entries in the piano part bear witness to a considerably practical approach. Crossed-out bars, notes added or crossed out in chords as well as a number of revisions of other kinds are more the rule than the exception. The composer's own fingerings written in the piano part also underline this assumption. The present edition contains two solo-parts each. One clean Urtext-part free of any additions from the editor and a second one with bowing marks and fingerings by Maria Kliegel who recorded both sonatas for the first time with the label Naxos. Both sonatas show evident resemblance to the works of this combination by Johannes Brahms and are therefore a must have for ambitious cellists.

With supplementary violoncello part marked by Maria Kliegel.