Beethoven's five sonatas for violoncello not only form part of the canon of the most important chamber musical works from the 19th century, they also constitute the first examples of cello sonatas of the "new" type, i.e. music aiming at the musical dialogue between two equal instruments. The cello is used as an instrument that perfectly compares with the piano. However, this is achieved not by adding some of those artificial, often somewhat awkward and untypical audacities (like some contemporary composing instrumental virtuosos did), but instead with a good eye for the characteristic means of expression of an instrument that - like the piano - can gracefully accept any task in a piece of music: as harmonically pulsating bass foundation, flexible middle voice, or taking on a soloist, cantabile upper part.
- from the Preface by Christiane Wiesenfeldt
This Wiener URTEXT includes piano score and cello part.
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