Sonata for Violoncello and Piano

$33.53

Subtitle:


Composer:

Janácek, Leoš

Arranger:

Bárta, Jirí

Editor:


Series:


Publisher:

Bärenreiter

Catalogue No.:

BA11595

Format:

Performance score

Pages:


Language:

EN

Description

Leoš Janáček’s only completed work for violoncello and piano is the “Fairy Tale” (BA09509). The arrangement of his violin sonata for violoncello provides cellists with another work by this composer – a valuable addition to the concert repertoire for this instrument. The arrangement was made by renowned Czech cellist Jiří Bárta, who recorded the version for the first time together with pianist Terezie Fialová (label Animal Music, 2024).

Bárta approached the arrangement with extraordinary sensitivity to Janáček’s original. The violin part remains largely unchanged, adapted only to accommodate the technical possibilities and timbre of the cello; in some passages, the cello even plays in the same register as the violin. For a particularly challenging passage in the fourth movement, the arranger offers an ossia alternative. The piano part is identical to the original, except for an octave transposition.

The musical text is based on the “Complete Critical Edition of the Works of Leoš Janáček”, E/1-2.

Sonata for Violoncello and Piano

$22.33

Subtitle:


Composer:

Debussy, Claude

Arranger:


Editor:

Back, Regina / Woodfull-Harris, Douglas

Series:


Publisher:

Bärenreiter

Catalogue No.:

BA09412

Format:

Performance score, Part, Urtext edition

Pages:


Language:

EN

Description

Debussy’s “ Sonate pour violoncello et piano” was composed in the summer of 1915. It was the first of a planned set of six sonatas for various instrumental combinations of which Debussy only completed three. Imbued with that unmistakable Debussy charm this work has remained a standard in the repertoire since the premiere. It is without question the most performed cello sonata of the 20th century.

Regina Back’s Urtext edition for the first time makes use of Debussy’s sketches held in a private collection which contain not only an important comment by Debussy regarding the balance of the instruments but also clarify several musical ambiguities found in the autograph and first edition.

Bärenreiter’s new Urtext edition comes with a detailed preface (Ger/Eng/Fr) elaborating not only on the genesis of the composition and its first performances but also providing performance practice information. The edition is rounded off with a facsimile and a critical commentary.