Cello Sonata in D Major Op. 102, No. 2 Cello and Piano 貝多芬 奏鳴曲 大提琴(含鋼琴伴奏) 亨乐版

作於 1815 年的兩首奏鳴曲作品 102 標誌著貝多芬向其晚期風格的樸素音色過渡。原版的一位評論家在 1818 年指出，這兩首奏鳴曲 "無疑是貝多芬長期以來創作的最不尋常、最奇特的作品之一"。從既定的古典模式出發，貝多芬在此奏鳴曲形式的變化和擴展方面提出了各種可能性，這使得作品 102 成為他大提琴創作的頂峰。D 大調奏鳴曲》反映了貝多芬對傳統對位法的專注；如果說在開頭樂章中，他將極其不同的主題巧妙地結合在一起令人讚歎不已，那麼在終曲的 "快板賦格 "部分，我們則見證了他如何從一個簡單的主題中創造出最高的協奏曲藝術。延斯-杜夫納（Jens Dufner）的Urtext版本是基於他對《貝多芬全集》評論報告的研究成果，因此具有最高學術水準的音樂文本。在序言和評論報告中，他概述了這首奏鳴曲的起源和來源情況。伊恩-福泉（Ian Fountain）和大衛-格林加斯（David Geringas）提供了指法"

作曲家: Ludwig van Beethoven
校訂者: Jens Dufner
樂器: Cello; Piano Accompaniment
出版社: Henle Urtext Edition
原文簡介:
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.