Hummel, Johann Nepomuk: Sonata for Pianoforte and Violoncello, op. 104
A delightful early Romantic piece in three movements by Austrian composer Hummel. The expressive cello cantilena in the “Romance” will capture the heart of every cellist.
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| Produktnr. | BA 10904 |
|---|---|
| Forlag | Bärenreiter |
| Komponist | Hummel, Johann Nepomuk |
| Sider | 35 |
| Udgivelsesår | 2015 |
| Genre | Klassisk |
| Instrumentation | Violoncello, Piano |
Editor: Kroll, Mark
Famous in his day, the Austrian composer and pianist Johann Nepomuk Hummel (1778–1837) studied with Mozart and befriended Beethoven.
Among his many works is a relatively late sonata for violoncello and piano composed in 1824 and published in 1826 – a delightful early Romantic piece in three movements supported by a capricious piano part.
The expressive cello cantilena in the “Romance” will capture the heart of every cellist.
Our edition, edited by Mark Kroll, is the first scholarly-critical publication of this sonata. It is based on the first edition of 1826 and the autograph manuscript, which served as a master copy for the engraving.
A comparison of the sources brought to light a number of details overlooked in the first edition, especially with regard to dynamics.
• A must for all cellists and lovers of chamber music
• Notes on performance practice in the Foreword (Ger/Eng)
• Detailed Critical Commentary (Eng)
Famous in his day, the Austrian composer and pianist Johann Nepomuk Hummel (1778–1837) studied with Mozart and befriended Beethoven.
Among his many works is a relatively late sonata for violoncello and piano composed in 1824 and published in 1826 – a delightful early Romantic piece in three movements supported by a capricious piano part.
The expressive cello cantilena in the “Romance” will capture the heart of every cellist.
Our edition, edited by Mark Kroll, is the first scholarly-critical publication of this sonata. It is based on the first edition of 1826 and the autograph manuscript, which served as a master copy for the engraving.
A comparison of the sources brought to light a number of details overlooked in the first edition, especially with regard to dynamics.
• A must for all cellists and lovers of chamber music
• Notes on performance practice in the Foreword (Ger/Eng)
• Detailed Critical Commentary (Eng)