Sonatas for cello and piano Incl. Cello Version of the Horn Sonata op. 17 贝多芬 奏鸣曲大提琴钢琴大提琴 法国号奏鸣曲 大提琴加钢琴 维也纳原典版
贝多芬的大提琴与钢琴奏鸣曲为全新的室内乐流派奠定了基础，并激励了约翰内斯-勃拉姆斯（Johannes Brahms）和理查德-施特劳斯（Richard Strauss）等后来的作曲家。贝多芬的五部作品的存世量截然不同。早期两首奏鸣曲作品 5 的原始手稿已全部遗失，而晚期作品 102 的原始资料却异常齐全，但仍有许多问题悬而未决。新版《维纳乌尔文版》通过对数据的批判性比较，提供了一个音乐文本，但避免对有问题的段落提出绝对的肯定。在此，编者建议将最合理的解决方案作为主文本，但在脚注和注释中为音乐家提供了备选方案--在存在重大分歧的情况下，甚至在单独的大提琴部分中也提供了备选方案，这样大提琴演奏家无需查阅批判性报告即可了解这些信息。本册还收录了《圆号奏鸣曲作品 17》的大提琴版本，根据最新研究，其替代乐器的演奏可被视为绝对真实。海因里希-希夫（Heinrich Schiff）对中提琴部分的编排不仅考虑到了音乐家们各自的演奏技巧，也考虑到了不同乐器之间的差异"
作曲家: Beethoven, Ludwig van
编者: Wiesenfeldt, Christiane
校订者: Schiff, Heinrich / Ubber, Christian
乐器: cello and piano
出版社: Wiener Urtext Edition
曲目:
Sonate in F-Dur op. 5/1 (1796) - Sonate in g-Moll op. 5/2 (1796) - Sonate in A-Dur op. 69 (180708) - Sonate in C-Dur op. 102/1 (1815) - Sonate in D-Dur op. 102/ (1815) - Sonate in F-Dur op. 17 (originale Violoncellofassung der Hornsonate, 1800)
With his sonatas for violoncello and piano, Beethoven laid the foundations for a totally new chamber music genre which inspired subsequent composers such as Johannes Brahms and Richard Strauss among others. The extent of what has survived of the five works by Beethoven is quite different. Whereas all original manuscripts of the two early sonatas Op. 5 are missing, unusually comprehensive source material is extant of the late opus 102 which, however, leaves no less serious questions unsettled. The new edition of the Wiener Urtext Edition provides a musical text obtained from the critical comparison of the sources which, however, avoids suggesting absolute certainty at problematic passages. Here, the editor rather suggests the most plausible solution as main text, but alternatives are made available to the musician in footnotes and remarks - and, in the case of major divergences, even in the separate cello part so that the cellist can see such information without having to look in the Critical Report. This volume also contains the cello version of the Horn Sonata Op. 17 the alternative instrumentation of which can be regarded as absolutely authentic according to recent research.Thanks to fold-out pages and optimized page-turns, the performance material is extremely practical. The arrangement of the violoncello part by Heinrich Schiff takes into account not only the musicians' individual playing techniques but also the differences between the individual instruments.