Beethoven, Ludwig - Sonatas Op 5, 69, 102 for Cello and Piano - Edited by Del Mar - Barenreiter URTEXT Edition

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Sonata Number 1 in F Major Op. 5 for Cello and Piano is very representative of Beethoven's early works.  Prior to Beethoven's five cello sonatas, the instrument was largely used in an accompanying role -- Beethoven's contemporaries didn't even write solo pieces for the cello.  This piece is the first time the cello was elevated to such a prominent level, and Beethoven's later works continue to expand this trend.

The sonata Number 2 in g minor, Op. 5 for Cello and Piano, written during Beethoven's early period, begins to display some of the independence characteristic of his second, middle period.  The sonata, like his first and fourth, only features two movements.  It gradually builds from the Adagio introduction into the Allegro first movement, eventually culminating in the arpeggiated finale of the second Allegro movement.

Beethoven's Cello Sonata Number 3 in A Major Opus 69 was revolutionary when it was composed in 1808.  The cello introduces the first theme completely solo, and following themes are expressed as a conversation between the two instruments.  The first movement is slower than typical, followed by an unexpectedly fast second movement and then again a very slow introduction to the lively final movement.

Beethoven's Sonata Number 4 in C Major for Cello and Piano was composed in 1815, during which time Beethoven was beginning to encounter an overwhelming number of difficulties, physical and social.  When published in 1817, listeners didn't know how to react to this sonata.  Featuring only two movements, the cello alone begins the sonata and, when joined by the piano, retains a leading role, complementing the piano in the melody. The second and final movement, by contrast, is an exciting fugue with an unexpected ending...

Beethoven's 5th and last cello sonata returns to more traditional form compared to the 4th sonata, though it continues Beethoven's trend of giving the cello a more prominent role in the melody than typical.  This sonata, particularly the second movement, begins to exhibit the dark and eccentric style that characterized Beethoven's late quartets and piano works.

Barenreiter URTEXT edition of the Beethoven Sonatas for Cello and Piano. Critical scholarly performing edition edited by Jonathan Del Mar.

Opus 5, Nos 1 & 2

Opus 69
Opus 102, Nos 1 & 2.


Difficutly: ASTA Grade 6

Warranty Info

Sheet Music Return Policy
If you are not satisfied with this item for any reason, you may return it for a full refund within 30 days of purchase. Unless the music received is defective or has been shipped in error, all returned music will be subject to a restocking fee of $2.00 per title.

If you have any questions about this product's warranty or to make a return, please contact our Customer Service Department at 800.793.4334 or email us at [email protected]
Sonata Number 1 in F Major Op. 5 for Cello and Piano is very representative of Beethoven's early works.  Prior to Beethoven's five cello sonatas, the instrument was largely used in an accompanying role -- Beethoven's contemporaries didn't even write solo pieces for the cello.  This piece is the first time the cello was elevated to such a prominent level, and Beethoven's later works continue to expand this trend.

The sonata Number 2 in g minor, Op. 5 for Cello and Piano, written during Beethoven's early period, begins to display some of the independence characteristic of his second, middle period.  The sonata, like his first and fourth, only features two movements.  It gradually builds from the Adagio introduction into the Allegro first movement, eventually culminating in the arpeggiated finale of the second Allegro movement.

Beethoven's Cello Sonata Number 3 in A Major Opus 69 was revolutionary when it was composed in 1808.  The cello introduces the first theme completely solo, and following themes are expressed as a conversation between the two instruments.  The first movement is slower than typical, followed by an unexpectedly fast second movement and then again a very slow introduction to the lively final movement.

Beethoven's Sonata Number 4 in C Major for Cello and Piano was composed in 1815, during which time Beethoven was beginning to encounter an overwhelming number of difficulties, physical and social.  When published in 1817, listeners didn't know how to react to this sonata.  Featuring only two movements, the cello alone begins the sonata and, when joined by the piano, retains a leading role, complementing the piano in the melody. The second and final movement, by contrast, is an exciting fugue with an unexpected ending...

Beethoven's 5th and last cello sonata returns to more traditional form compared to the 4th sonata, though it continues Beethoven's trend of giving the cello a more prominent role in the melody than typical.  This sonata, particularly the second movement, begins to exhibit the dark and eccentric style that characterized Beethoven's late quartets and piano works.

Barenreiter URTEXT edition of the Beethoven Sonatas for Cello and Piano. Critical scholarly performing edition edited by Jonathan Del Mar.

Opus 5, Nos 1 & 2

Opus 69
Opus 102, Nos 1 & 2.


Difficutly: ASTA Grade 6
Sheet Music Return Policy
If you are not satisfied with this item for any reason, you may return it for a full refund within 30 days of purchase. Unless the music received is defective or has been shipped in error, all returned music will be subject to a restocking fee of $2.00 per title.

If you have any questions about this product's warranty or to make a return, please contact our Customer Service Department at 800.793.4334 or email us at [email protected]

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Asked On: 07/29/2016

What does Urtext mean? What makes this edition different than the others?

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Urtext basically means that this music is the earliest version of this piece of music, to which later versions can be compared. It serves as a baseline; it gives musicians and scholars an idea for the composer’s original intent. The reason that one would purchase an Urtext edition of music would be so that he or she has a musical text which solely reflects the composer’s intentions; creative interpretation can then be built upon those intentions. While it’s useful to purchase an Urtext edition so that one may get a feel for a composer’s intentions, it’s no guarantee of the composer’s exact writings. When a piece of music is edited or altered, it’s common for editors to add or subtract to the music as well as to edit performance methods. In many cases, it can be useful to purchase a thoroughly edited and altered version of a piece of music, because perhaps it will contain fingerings, bowings or musical performance ideas that will be useful to the performer or student who’s using it. Editions that are edited or arranged may also contain a different cadenza for a concerto. When deciding which edition to buy, it really does come down to personal preference. It’s also worth noting that there’s more than one publisher of the Urtext version of music. Some well-known publishers of Urtext versions include Henle, Bärenreiter and Breitkopf, among others. This comes from the G. Henle Verlag Publisher’s website: “There is no such thing as the one valid Urtext version of a musical composition, because the Urtext edition is not the same as a composer's manuscript. (Unfortunately even today many musicians believe this to be the case, for the word "Urtext" [original text] probably also supports this idea.) In most cases the Urtext editor has to choose between different readings in the primary sources: What is "correct", what is "wrong"? Often there is no clear answer. At all events, a good Urtext edition justifies the decision made (and printed).”

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