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Download as PDF; Printable version; In other projects Wikidata item; Appearance. ... Cello Sonata No. 1 (Brahms) Cello Sonata No. 2 (Brahms) Clarinet Sonatas (Brahms) ...
Brahms' antiquarian interests, his studies of music from the Renaissance to the Classical periods, show in his work — he edited and helped publish a two-chorus motet by Mozart Venite Populi, he had a collection of sonatas by Scarlatti — and in his composition, his motets Op. 74, his interest in the fugue and the passacaglia (outside of organ music such as Josef Rheinberger's Sonata No. 8 ...
Cello Sonata (1919) Three Impressions (Cortège, Nuit calme, En Espagne) (1926) Johannes Brahms. Cello sonata No. 1, Op. 38 in E minor (1862–65) Cello sonata No. 2, Op. 99 in F major (1886) Violin sonata No. 1, Op. 78 in G major Rain (1878–79), transcribed for cello by Paul Klengel
Print/export Download as PDF; Printable version; In other projects Wikimedia Commons; ... (Brahms) Cello Sonata No. 2 (Brahms) Cello Sonata (Britten) C.
Download as PDF; Printable version; In other projects Wikidata item; Appearance. ... Cello Sonata No. 1 (Brahms) Cello Sonata No. 2 (Brahms) Clarinet Quintet (Brahms) ...
Cello Sonata No. 1 may refer to: Cello Sonatas Nos. 1 and 2 (Beethoven), by Ludwig van Beethoven; Cello Sonata No. 1 (Brahms), by Johannes Brahms; Cello Sonata No. 1 (Mendelssohn), by Felix Mendelssohn; Cello Sonata No. 1 (Reger), by Max Reger; Cello Sonata No. 1 (Ries), by Ferdinand Ries; Cello Sonata No. 1 (Fauré), by Gabriel Fauré
A cello sonata is piece written sonata form, often with the instrumentation of a cello taking solo role with piano accompaniment. [1] Some of the earliest cello sonatas were composed in the 18th century by Francesco Geminiani and Antonio Vivaldi, and since then other famous cello sonatas have grown to those by Johannes Brahms, Ludwig van Beethoven, and Sergei Rachmaninoff among others.
The Allegro vivace is a sonata form opening with a fragmented cello theme over a tremolo piano part. [3] Its bipartite exposition somewhat unusually traverses F major, C major, and A minor; [4] Roger Graybill argued that the tonal plan may be read as ultimately returning to F major, given the intricate motivic structure of its voice leading.
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