Cello Sonata in D Major Op. 102, No. 2 Cello and Piano 贝多芬 奏鸣曲 大提琴(含钢琴伴奏) 亨乐版

作于 1815 年的两首奏鸣曲作品 102 标志着贝多芬向其晚期风格的朴素音色过渡。原版的一位评论家在 1818 年指出，这两首奏鸣曲 "无疑是贝多芬长期以来创作的最不寻常、最奇特的作品之一"。从既定的古典模式出发，贝多芬在此奏鸣曲形式的变化和扩展方面提出了各种可能性，这使得作品 102 成为他大提琴创作的顶峰。D 大调奏鸣曲》反映了贝多芬对传统对位法的专注；如果说在开头乐章中，他将极其不同的主题巧妙地结合在一起令人赞叹不已，那么在终曲的 "快板赋格 "部分，我们则见证了他如何从一个简单的主题中创造出最高的协奏曲艺术。延斯-杜夫纳（Jens Dufner）的Urtext版本是基于他对《贝多芬全集》评论报告的研究成果，因此具有最高学术水平的音乐文本。在序言和评论报告中，他概述了这首奏鸣曲的起源和来源情况。伊恩-福泉（Ian Fountain）和戴维-格林加斯（David Geringas）提供了指法"

作曲家: Ludwig van Beethoven
校订者: Jens Dufner
乐器: Cello; Piano Accompaniment
出版社: Henle Urtext Edition
原文简介:
Written in 1815, the two Sonatas op. 102 mark the transition to the often austere sonorities of Beethoven's late style. One reviewerof the original edition noted in 1818 that they “doubtless number among the most unusual and peculiar things written in a long while.” Proceeding from the established Classical schema, here Beethoven sounds out possibilities for changing and expanding sonata form, which make Opus 102 the capstone of his cello ouvre. The Sonata in D-major reflects Beethoven's preoccupation with traditionalcounterpoint; if in the opening movement his ingenious combination of extremely different themes elicits admiration, then in the “Allegro fugato” section of the finale we witness how he conjures from one simple theme the highest contrapuntal art. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of the sonata. Ian Fountain and David Geringas provide the fingerings.