cello repertoire from wiener urtext edition · pdf filekat 60071-99 new website! wiener urtext...

KAT 60071-99 New Website! www.wiener-urtext.com Wiener Urtext Edition

Highlights Highlights of the of the RomanticRomanticRepertoireRepertoire

for Cello and Piano

Urtext on the basis of the extant sources

Johannes BrahmsSonatas in E minor Op. 38 and F major Op. 99for cello and piano

Edited from the sources by Hans-Christian MüllerFingerings (cello) and Notes on Interpretation by Wolfgang BoettcherFingerings (piano) by Detlef KrausLevels: intermediate – advanced (Op. 38), advanced (Op. 99)UT 50039/50040

Sonata for cello and piano in F major Op. 99UT 50040

Sonata for cello and piano in E minor Op. 38 UT 50039

Brahms’s Sonata in E minor Op. 38 composed during the sum-mer months in 1862 and 1865 is part of every cellist’s standard repertoire. The work is ‘a homage to J. S. Bach’. Brahms based the principal theme of the fi rst movement on Contrapunctus 4 and the fi nale on Contrapunctus 13 of ‘The Art of Fugue’. Brahms described the work ‘as a violoncello sonata which, as far as both instruments are concerned, is certainly not diffi cult to play’, and indeed, this cello sonata can also be executed by experienced amateurs.

From a homage to Bach to the symphonically inspired chamber music of the late Romantic period

It was thanks to the Berlin cellist Robert Hausmann that Brahms wrote his second Sonata in F major for violoncello and piano Op. 99, and that’s why this work is very demanding. Its four-movement structure, its concentrated musical expression, and its reminiscence of the theme from the fi nale of the composer’s Third Symphony make the work, which was composed in 1886, an extraordinary paradigm of its genre. The edition is based on the original edition and on Brahms’s autograph manuscript, the only extant sources. Their comparison gives interesting insights into the genesis of the work.

Wiener Urtext EditionSchott / Universal Edition

Brahms Sonata for Piano and Violoncello Op. 99

UT 50040

Brahms

Müller /Boettcher/Kraus

Sonate für Klavier und Violoncello

F-Dur op. 99

UT 50039

Brahms

Müller / Boettcher / Kraus

e-Moll op. 38

Beethoven Violoncello Sonatas

UT 50247

Beethoven

Sonaten für Violoncello und Klavier

Mit der Violoncellofassung der Hornsonate op. 17

Wiesenfeldt / Schiff / Ubber

UT 50039

Brahms

e-Moll op. 38

UT 50040

Brahms

F-Dur op. 99

Dvo¡ák Works for Violoncello and Piano

UT 50244

Dvo¡ák

Döge / Rivinius / Kann

Werke für Violoncello und KlavierPolonaise, Rondo, Slawischer Tanz, Waldesruhe (Klid)

Cello Repertoire from Wiener Urtext Edition

Reinecke The Complete Sonatas for Violoncello and Piano

UT 50272

Reinecke

Sämtliche Sonaten

für Violoncello und KlavierWiesenfeldt / Fischer-Dieskau / Roggenkamp

Vivaldi Sonatas for Violoncello and Basso Continuo

UT 50175

Vivaldi

Sonaten für Violoncello und

Moosbauer / Darmstadt

Basso continuo

UT 50133

J. S. Bach

6 Suiten für Violoncello solo

Leisinger

(BWV 1007–1012)

J. S. Bach 6 Suites for Violoncello solo

J. S. Bach Suite 1 for Violoncello solo

UT 50260

J. S. Bach

Leisinger

Suite 1 für Violoncello solo

(BWV 1007)

• Easy to read musical score in needle-sharp print

• Practical page layout with tested page turns

• Clear print on textured and glare-free paper

• High-quality binding for easy opening and page turning

Wiener Urtext Edition

Wiener Urtext offers even more:

Fantasiestücke für

Kube / Noh / Roggenkamp

Violoncello und Klavier op. 73

Schumann Fantasy Pieces for cello and piano Op. 73

UT 50285

Schumann

for Cello and Piano

UT 50040

Brahms

F-Dur op. 99

UT 50039

Brahms

e-Moll op. 38

UT 50247

Beethoven

UT 50039

Brahms

e-Moll op. 38

UT 50040

Brahms

F-Dur op. 99

UT 50244

Dvo¡ák

UT 50272

Reinecke

Sämtliche Sonaten

UT 50175

Vivaldi

Basso continuo

UT 50133

J. S. Bach

Leisinger

(BWV 1007–1012)

UT 50260

J. S. Bach

Leisinger

(BWV 1007)

UT 50285

Schumann

for Cello and Piano

UT 50040

Brahms

F-Dur op. 99

UT 50039

Brahms

e-Moll op. 38

UT 50247

Beethoven

UT 50039

Brahms

e-Moll op. 38

UT 50040

Brahms

F-Dur op. 99

UT 50244

Dvo¡ák

UT 50272

Reinecke

Sämtliche Sonaten

UT 50175

Vivaldi

Basso continuo

UT 50133

J. S. Bach

Leisinger

(BWV 1007–1012)

UT 50260

J. S. Bach

Leisinger

(BWV 1007)

UT 50285

Schumann

www.universaledition.com/grooveconnection

Antonín DvořákWorks for cello and piano

Edited from the sources and provided with Notes on Interpretation by Klaus Döge

Fingerings (cello) by Gustav RiviniusFingerings (piano) by Hans Kann

Level: intermediate – advancedUT 50244

UT 50244

Dvo¡ák

Works for cello and pianoUT 50244

Fantasy pieces Op. 73UT 50285

Robert Schumann wrote his Fantasy pieces Op. 73 originally for clarinet and piano. The fi rst edition of Schumann’s Fantasy Pieces Op. 73 published in July 1849 contained not only a clarinet part but also a violin and a cello part. Since then, they have become an integral part of the Romantic repertoire for cello and piano. This edition is based on the text of the fi rst edition, Schumann’s personal copy and his compositionmanuscript. The preface gives interesting insights into the work’s origin and the publishing process. The notes on inter-pretation provide information on metronome indications, bowing, articulation, vibrato and fi ngering.

Carl ReineckeThe complete Sonatas for cello and piano

Edited from the sources by Christiane WiesenfeldFingerings (cello) and Notes on Interpretation by Manuel Fischer-DieskauFingerings (piano) by Peter RoggenkampLevel: intermediate – advancedUT 50272

Reinecke was one of the most important fi gures among musi-cians in the second half of the 19th century. His three Sonatas for violoncello and piano are of amazing musical quality which puts them right up with the sonatas of Johannes Brahms. It is all the more surprising, however, that an urtext edition of these works did not exist up until 2010, the 100th anniversary of Reinecke’s death; cellists had to fall back on copies of the fi rst editions only a few of which are extant. This gap is now closed by the edition of Wiener Urtext. It encompasses all three sonatas in one volume, thus adding three masterpieces of Romantic chamber music to the less than comprehensive repertoire of the 19th century for violoncello and piano.

Manuel Fischer-Dieskau’srecording of the complete cello sonatas by Carl Reinecke (Dabringhaus & Grimm)

Manuel Fischer-Dieskau on Carl Reinecke’s Sonatas for cello and piano:

Even though we cellists are already fortunate when it comes to a number of magnifi cent works for cello and piano written by signifi cant 19th century composers, the resources for this sort of repertoire, however, are still quite limited, compared to what is available for violin and piano or for solo piano. For this reason, cellists keep putting on

the same concert repertoire from this period, whether sonatas by Johannes Brahms, works by Robert Schumann scored for this setting or – more rarely – sonatas by Felix Mendelssohn. Thus, it is even more delightful to see how this new edition of sonatas by Carl Reinecke gives concert performers, home musicians and listeners alike a chance to rediscover these masterpieces that had been wrongfully removed from the public eye.

When the cello enters the fi rst theme of the fi rst sonata (Op. 42),it becomes clear right away how naturally Reinecke has inter-nalised the character of this string instrument.

Manuel Fischer-Dieskauwww.manuelfi scher-dieskau.de

A passionate agitation, at times touched by a melancholy air, at times building up to jubilating sounds of joy – that would be the character of the Fantasy Pieces here under review.

Extracted from a review of Robert Schumann’s Fantasy pieces Op. 73 by Eduard Bernsdorf (Neue Zeitschrift für Musik, 12 February 1850)

Ji-Eun Noh on the later added metronome indications:

In the autograph of the Fantasy Pieces M.M. is notated above each piece, but without any numerical values. These are however included in the Neue durchgesehene Ausgabe (‘New Revised Edition’) of 1852 ... It is not conclusively established that these indications are by Schumann himself, but cannot be excluded either. Schumann presumably owned several metronomes that worked differently depending on origin, make and technical fl aws that were frequent in his time. In his last years he consideredhis own indications as generally too fast. The metronome indications should in any case not be regarded as absolute. They can only serve as a point of reference and have more relevance for the character of the pieces than for their tempo.

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Fantasiestückeop. 73

Robert Schumann(1810–1856)

Das widerrechtliche Kopieren von Noten ist gesetzlich verboten und kann privat- und strafrechtlich verfolgt werden.Unauthorized copying of music is forbidden by law, and may result in criminal or civil action.

Robert SchumannFantasy pieces for cello and piano Op. 73

Edited from the sources by Michael KubeFingerings and Notes on Interpretation (cello)by Ji-Eun NohFingerings and Notes on Interpretation (piano) by Peter RoggenkampLevel: intermediate – advancedUT 50285

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3. Sonatefür Pianoforte und Violoncello

op. 238

° * ° *

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op. 238

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Antonín(1841 –

Das widerrechtliche Kopieren von Noten ist gesetzlich verboten und kann privat- und strUnauthorized copying of music is forbidden by law, and may result in criminal or civil ac

Polonaiseopus post.

B 43 FAllegro moderato (molto tranquillo)1 .œœ œœ œœ ˙̇̇

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Antonín Dvorák(1841 – 1904)

Polonaiseopus post.

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rafrechtlich verfolgt werden.ction.

Klaus Döge on Dvořák’s autograph manuscript of the Rondo Op. 94 for cello and piano:

Dvořák’s autograph of the Rondo for violoncello and piano has the character of a fi rst written draft, in which deletions, overwritten passages and corrections make traces of the compositional process tangible. Moreover, this character of a fi rst written draft becomes evident on another level: in the auto-graph, dynamics and articulation are only notated sporadically. Additions of this type (with a different pen and often scribbled in with wobbly crescendo and decrescendo marks, as if they had been written in from the piano stool) were probably made to the autograph together with certain changes in register for both solo and accompanying instruments during Dvořák’s rehearsals of the Rondo with the cellist Hanuš Wihan for the farewell tour at the beginning of 1892.

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UT 50285

Schumann

Besides the famous Concerto in B minor Op. 104, Dvořák’s oeuvre includes four smaller, chamber music compositions for cello and piano: the Polonaise in A major, the Rondo in G minor Op. 94, an arrangement of the well-known Slavonic Dance in G minor from opus 46 and the mood piece ‘Woodland Idyll’ (Klid). The new Wiener Urtext edition presents these four works all together in a single volume.

For the preparation of this edition the Dvořák expert Klaus Döge has studied original manuscripts alongside corrected proofs and fi rst editions, supported by reference to the orchestral and piano scores. Documented comments by the composer himself have provided an additional source of authentic suggestions for per-formance.

UT 50244

Dvo¡ák

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Robert Sch(1810–1

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UT 50285

Schumann

UT 50244

Dvo¡ák

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op. 73

Robert Sch(1810–1

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Polonaiseopus post.

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n Dvorák– 1904)

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UT 50285

Schumann

cello repertoire from wiener urtext edition · pdf filekat 60071-99 new website! wiener urtext...

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