Sonata for Violoncello and Piano in E minor op. 38 布拉姆斯 奏鳴曲 大提琴 鋼琴 騎熊士版

約翰內斯-勃拉姆斯的 E 小調大提琴奏鳴曲前三個樂章創作於 1862 年，最後一個樂章創作於 1865 年。在演奏的最初幾年裡，人們對這部作品的評價褒貶不一。然而，在勃拉姆斯晚年，這首作品被廣泛演奏，到 20 世紀的頭幾十年，它已成為許多傑出大提琴家的保留曲目。羅伯特-豪斯曼（Robert Hausmann）對這部作品的大力推廣似乎功不可沒"

作曲家: Brahms, Johannes
校訂者: Brown, Clive / Costa, Neal Peres Da / Wadsworth, Kate Bennett
樂器: for Violoncello and Piano
出版社: Bärenreiter 騎熊士(小熊版)
難度: 3
原文簡介:
The first three movements of Johannes Brahms’ E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms’ life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann’s advocacy of the work which seems to have contributed greatly to its promotion.

Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists’ van Vliet, Becker and Klengel’s fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter 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 works‘ origins, 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 in 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: „Performance Practices in Johannes Brahms‘ Chamber Music“, text booklet BA 9600