Cello Sonatas (6)

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.

SKU: AP.36-M368991

ISBN 9798892704151. UPC: 659359551123. English.

This is the first of Debussy's three sonatas for cello. Composed in three movements of varying styles, this beautiful and interesting piece became one of the most performed cello sonatas of the 20th century.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: HL.48025018

ISBN 9781784544324.

Leokadiya Kashperova (1872-1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Mily Alexayevich Balakirev and Leopold von Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. These new editions of the Cello Sonatas 1 & 2 have been broadcast and recorded, whilst new editions of her Symphony and hitherto unpublished Piano Concerto have recently been issued.

SKU: ST.C360

ISBN 9790570813605.

Gavotte en Rondeau from Violin Partita No.3 (BWV 1006).

Paper, daylight and candles were often in short supply during Bachâ??s very busy lifetime but simply to view the autograph score in his hand of the Sonatas and Partitas for solo violin is to be bound into a spell by the beauty, skill and extempore furiosity of the script. The cycle has been described as a miracle of implied harmony and rich harmonic textures, â??its freshness and maturity, its depth, its beauty, its response to all moodsâ? informing a work of humanity and genius unparalleled in all the literature for solo violin.

The present arrangement of the Gavotte en Rondeau from Partita No. 3 (BWV1006) is based on Rachmaninoffâ??s intricate harmonisation for piano. â??Ruht Wohlâ?? from the St. John Passion (BWV 245). In the final Chorus from the St. John Passion, Bach imbues the popular dance-forms of the Sarabande and Minuet with a spiritual theme of atonement and reconciliation. The three ritornelli stand like pillars in a palindromic structure whose unbroken melodic line and flowing counterpoint represent a â??timeless continuanceâ??. The original scoring is light and transparent, and transfers appropriately to a choir of cellos without the loss of any counterpoint. Prelude Op. 25 No 3 by Rachmaninoff. Throughout his career as a composer and virtuoso pianist, this Prelude was one of Rachmaninoffâ??s favourite pieces and he dedicated it to his teacher Alexander Siloti. A powerful structure is built up from a small rhythmic motif, reminiscent of Tchaikovskyâ??s representations of fate or Shostakovichâ??s of looming state power. This is contrasted with a lyrical middle section and a final phrase marked leggiero in which the music flies off into the air like a bird.