Sonate F-Dur (First edition of 1st version) for piano and violoncello 史特勞斯理查 鋼琴大提琴 大提琴加鋼琴 朔特版
大提琴奏鳴曲作品 6 的創作歷時三年之久，這對于斯德勞斯早期的創作階段來說是非常漫長的。作曲過程中產生了兩個獨立的版本，其中第一個版本首次以《理查-施特勞斯作品批判版》（Critical Edition of the Works of Richard Strauss）中的文本為基礎，作為實用音樂文本出版。這兩個版本的起源和修改原因只能部分還原：現存的親筆簽名中只有一個注明了日期，第二個版本僅存印刷本。兩個版本的奏鳴曲存在巨大差異：施特勞斯刪去了整個第二和第三樂章 "大步 "和 "活潑快板"，代之以新創作的 "安魂曲 "和 "終曲"。在第一樂章 "小快板 "中，施特勞斯幾乎原封不動地在新版奏鳴曲中保留了主題動機材料和複雜的作曲段落，如發展部的三聲部賦格（第一版為第 241 小節，第二版為第 275 小節），但也進行了大量改動，尤其是在鋼琴聲部的結構、樂章的主題動機發展以及和聲方面，變得更加雄心勃勃12。特別值得注意的是，從第 32 小節開始的 con espressione 主題伴奏出現了重複，而第一版的發展過程則大大縮短。現在，理查-施特勞斯大提琴奏鳴曲第一版的印刷版使我們有可能瞭解施特勞斯在這一時期的創作發展。兩個版本之間的差異意義重大，這也意味著理查-施特勞斯為大提琴和鋼琴創作的兩首奏鳴曲在基本特徵上存在根本性差異，而現在這兩首奏鳴曲都可以演奏了（摘自編者前言）"
作曲家: Strauss, Richard
編者: Eller, Florence / Pernpeintner, Andreas / Schenk, Stefan
樂器: cello and piano
出版社: Schott Music
原文簡介:
The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strausss early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends.There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version.The current printed edition of the first version of Richard Strausss Cello Sonata now makes it possible to follow Strausss compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.(from the foreword by the editors)