its origins to the 16th Century back and initially had modest mainly with the basso- orchestra and function. Development of the technique and extension of roles went hand in hand. In the first two decades of the 19th Century fixed the virtuoso Jean-Louis Duport, whose playing Beethoven cello plants has suggested, the principles of the finger and bow technique. By the middle of the century, the spike or spike was introduced, which gives the instrument securely and also increases the resonance, so that the male-baritone sound of the cello as a melody instrument to fully develop. Previously, the cello had been taken in the upcoming string quartet and string trio, the role of the bass foundation. At the same time its importance grew in the symphonic orchestra. Rasch also enthusiastic amateurs for the part in fashionable instrument. Among them was King Friedrich Wilhelm II of Prussia . The winning music lovers to please some late string quartets Mozart had in the Part of the cello by melodic cantabile tasks increased. Beethoven dedicated the Prussian king, the two duo sonatas, Op 5, the pioneering first-fruits of the classical-romantic-cello literature. Both of Duport and the Berlin court composed sonatas are basically two movements, with the remarkably extensive and thoughtful deep Adagio discharges represented the slow movement, the new sonata principle governed by the diligent head sets and the final movements, especially the major-Rondo in G minor Sonata, the custom enough to give the virtuoso is a resounding, rewarding game to play the hand. The piano, as it is for the pianist, Beethoven himself understands completely gone the accompanying feature, it acts as an instrument brilliantly treated in appearance, that indulges in large-scale passages, and often pushes the cello in the shade. The first movements of both works are full of ideas, the development section of the F major Sonata modulated by A-flat major of D minor in romanticized in D flat major regions, the lifting after a long, many-jointed Prelude Allegro molto of the g-minor work moves with impetuous force in "Pathetique" proximity. The final sets have unusual features, so is the beginning of the finale of the first sonata in F major base reached after concealing dominant modulations. The rondo of the second plant surprised by a rhythmically pointed C major Intermezzo. Pierre Fournier (1906-1986)
»Inter Lacrimas et« Luctum, between tears and sadness, Beethovcn wrote on a copy of the Sonata, Op 69, with no external cause for the 1807/08 period of the Fifth and was the Sixth Symphony, and in their character, the lyrical cello-equivalent of the violin concerto represents. The sounding as unaccompanied cello Cantilena Allegro's main theme determines the character of the work on lyrics and melody. The wide-sweeping, sentimental melody turns near the beginning, as one would expect a pathetic increase, twice resigned to minor. The second subject is no contrast, but continues the full vocal line. - In syncopated rhythms rises to the a-minor Scherzo and then goes on to E minor and C major, to a trio melody in A major, whose song-like character is modified only by dynamic lighting effects, like the trio in the Scherzo of the Seventh Symphony. How wasteful Beethoven Opus 69 has dealt with his ideas, demonstrates the valuable Adagio cantabile; be soft in E major stops after 18 cycles and makes an Allegro vivace place that address the issues both groups the lyrical flow of the first movement. The mild fading coda summarizes the basic character of the work: singing full dignity, quiet emotion and lyrical grace. The two sonatas, Op 102 from the year 1815, the boldest, most problematic duo compositions by Beethoven, a direct harbinger of his late style: Relation of fantasy-sonata and strict, polyphonic form, reckless expansion of the expression at the expense of the sensuous sound stimulus. Dic C-major Sonata is reflected in the structure of about the same time resulting Piano Sonata Opus 101 in use. Beethoven called it in manuscript a "free Sonata." It opens with an Andante, whose fanciful theme of the votes duettierenden is spun like a fantasy, and the practice of the introduction of Opus 5 returns, but on a much more complicated form. The Allegro vivace, is in A minor, with energetic, a collective force. Massive octaves high, shoot the improvisational train of the introduction is replaced by a stern, focused on limited space sonata. In sharp juxtaposition of opposites of this law is already concentrated the features of the last piano sonatas anticipated. The cello is much less than in the previous three sonatas treated as an instrument vcrlangt cantilena its suitability for special consideration. The concert character is gone; waiving sensual sound stimulus, the instruments are set against each other as partners of a dialogue. - After the con fuoco in A minor Allegro closing sentence takes a short Adagio in C major, Andante-start the imagination of the on. A short melody passes. The six-eight rhythm of the introduction returns, and clamped the final Allegro with the head set. The type of "free Sonata," should build on the romance was made, in imaginative branches. The two quarter-final at the rapid pace applies the energy of the first Allegro, the playfulness. Surprises, bizarre modulations and contrapuntal passages are displayed in sequence until the Sonata in C major, dies out.
Wilhelm Kempff (1895-1991)
The second sonata in D major, long considered unattainable, and as evidence of Beethoven's disregard of the instrumental possibilities. The rebellious and in fact barely playable final fugue contemporaries took the occasion of Beethoven's treatment of strict to ridicule and reproach him, he could not write scholastic fugue. The three-movement sonata is still in its intellectual and technical demands still the most sensitive work for cello in addition to Bach's solo suites. The Allegro con brio is at once a vigorous approach to that of rolling sixteenth character, the more pressing as an expression of power is almost a leitmotif in the Violin Sonatas op known 30th The rebellious energy expresses the octave and Dezimensprüngen the main theme, from the massive carved piano part from the distinctive missions of the cello, and especially from the concentrated Unity of conception. Beethoven sonata late style triumphs: rapid exchange of emotional extremes, lapidary construction, crowded soon, cutting boldness of the modulator tables, dispensing with every concession in favor of pleasing compositional uniformity. Only in the Coda logs temporarily the elegiac element. - The Adagio con molto sentimento d'affetto points with a melancholy D minor singing in the deep sound stops and ends in the middle section into a vcrheißungsvolle D-major melody, before it drops again in the minor counties. In the rich figuration it recalls the phrase of art of the late string quartets and the last piano sonatas. - The Fugue (in D major, ¾-stroke) uses attacca. It is Beethoven's first attempt to create a new joint type, the predecessor of imposing extensive, dramatic and uncompromising joints of the late period. Your lack of consideration for the sound sensible, their way of sonata colored passages, her surly staccato, and their concentrated energy had to disturb the contemporary audience. However, this trickiest of all cello-joints only be the prelude to Beethoven's confrontation with the Queen of contrapuntal forms. 
Ludwig van Beethoven (1770-1827) This tasteful, 18 cm high bronze is commercially available for purchase in the French-Dutch-English music shop Tasset. In the same style, there are Bach, Mozart and Chopin. The three cycles of variations for piano and cello are continuing an art form that Beethoven has maintained throughout life with zeal. Twelve Variations on a Theme from Handel's oratorio "Judas Maccabaeus" are temporally and stylistically inspired in the neighborhood of Opus 5, ie in the time when Beethoven himself from the playing of the virtuoso was Duport. The immensely popular tune of the highly revered Beethoven Handel takes essentially the history of figurative variations, with the key of G major, only in the fourth and eighth Modification to G minor darkened. The main objective is a concise, upbeat topic in different playing techniques (cantilenas, Trio Lenke tablets, staccato passages) demonstrate. Almost at the same time, the twelve variations were about "A girl or young woman" from Mozart's
"Magic Flute. you are richer, more interesting and more important. The tenth variation in F minor, could be the Adagio from an early piano sonata, in the eleventh variation other hand, reports an almost Schubert's piano writing, the conclusion is a particularly charming fantasy about Papageno-sphere. The seven variations on The Magic Flute duet "A man who can feel love " hold to a large extent determine the six-eight rhythm of the melody, but casual fare, brilliant and more liberal than their predecessors. Piano and Violoncellpart are set equal virtuosity. Rhythm and harmony to be very differentiated. The type of character variation - the work was created in 1801 at the time of the Second Symphony - breaks track, especially in the final Allegro, the joyous anticipation of the enthusiasm of some medium-sized piano sonatas.
contrast with five sonatas and three variations of Beethoven cycles has anchored the cello as a duo in the chamber-musical-instrument practice. The solo possibilities of the "little Bass "- that is namely in literal translation cello - were now definitively proven. The cello was, from virtuosos like amateurs, the expression of elegance, fine-minded. The romance got the cello as a central instrument. It throws light on Beethoven's mid division between classical and romantic, that he recognized the expressive possibilities of the cello, has expanded and strengthened for the future.
Source: Karl Schumann, in the booklet
TRACKLIST
LUDWIG VAN BEETHOVEN (1770-1827)
The Music for Cello and Piano Works for Cello and Piano
integral works for cello and piano
Opera integrale per violoncello e pianoforte
Obras completas para piano y violonchelo
Pierre Fournier, cello
Wilhelm Kempff, piano
Live Recordings Konzertmitschnitte
Public Records
Registrazione dal vivo
Grabaciones en directo
COMPACT DISC I [65'20]
Sonata for Piano and Violoncello in F Major, Op. 5 No. 1 [21'31] Sonate für Klavier und Violoncello F-dur
Sonata for Piano and Cello in F major Sonata per pianoforte e
Cello Sonata in F major
violonchelo para piano y en mayor
ago [01] 1. Adagio Sostenuto - Allegro [14'31]
[02] 2. Rondo. Allegro vivace [7'00]
Sonata for Piano and Cello in G minor, Op. 5 No. 2 [21'43]
g-moll - en sol mineur - G minor - en sol menor
[03] 1. Sustained and expressive Adagio - Allegro molto rather quickly [13'00]
[04] 2. Rondo. Allegro [8'43]
tor Piano and Cello Sonata in A major op. 69 [21'52]
A-dur - en la majeur - in the major - en la mayor
[05] 1. Allegro ma non so [9'10]
[06] 2. Scherzo. Allegro molto [5'36] [07] 3. Adagio cantabile - Allegro vivace [7'06]
COMPACT DISC 2 [67'37]
Sonata for Piano and Cello in C major, Op. 102 No. 1 [15'05] C-dur - en ut majeur - in C major - en do mayor
[01] 1. Andante - Allegro vivace [8'03]
[02] 2. Adagio - Time Andante - Allegro lively [7'02]
Sonata for Piano and Cello in D major op. 102 No. 2 [20'07]
D-dur - en re majeur - in D major - en re mayor
[03] 1. Allegro con brio [6'38]
[04] 2. Slowly with much feeling of affection - attacks [8'49]
[05] 3. Allegro - Allegro fugue [4'40]
[06] - [18] Twelve Variations (in G major) on a Theme [12'07]
from Handel's oratorio "Judas Maccabaeus" WoO 45 ("See, The Conquering Hero comes ")
Zwölf Variationen (G-dur) über ein Thema aus Handels Oratorium 'Judas Maccabäus "
Douze Variations (en sol majeur) sur un extrait de l'theme oratorio" Judas Macchabée "Handel
Dodici Variazioni (in sol maggiore) its a matter dell'oratorio" Giuda Maecabeo "Twelve
di Händel Variations (in G major) on a subject of the oratorio "Judas Maccabeus" by Handel
[19] - [26] Seven Variations (in E flat major) on the Duet [9'15]
"Bei Männern, welche Liebe fühlen "WoO 46 from Mozart's opera" The Magic Flute "
Sieben Variationen (Es-dur)
über das Duett" Bei Männern, welche Liebe fühlen 'aus Mozarts Oper "Die Zauberflöte"
Sept Variations (en mi majeur bémol) sur le duo
"A man who can feel love" extrait de l'opera "La Fluet enchantée" de Mozart
Sette variazioni (in mi maggiore bemolle) sul duetto
"A man who can feel love "dall'opera" Il flauto magico "di Mozart
Siete Variaciones (en mi mayor bemol) sobre el dueto
" A man who can feel love "de la" Flauta Mágica "de Mozart
[27] - [39 ] Twelve Variations (in F major) on the theme [10'40]
"A girl or young woman," Op 66 from "The Magic Flute"
Twelve Variations (in F) over the
theme "A girl or young woman" from "The Magic Flute
Douze Variations (en fa majeur) sur le theme
A girl or young woman" extrait de "La Flute enchantée»
Dodici variazioni (in fa maggiore) sul tema
" A girl or young woman "da" Il flauto magico "Doce variaciones sobre el tema
A girl or young woman" de la "Flauta Mágica"
Recording: Paris, Salle Pleyel
,
2 / 1965
Executive Producer: Otto Gerdes - Recording Producer: Karl Faust mixer (Balance Engineer): Heinz Wildhagen ® & © 1966 ADD
August Kloeber (1793-1864), Ludwig van Beethoven, 1818, pencil drawing, Beethoven-Haus Bonn, Mödling, 1818. - Drawing, 40.0 x 27.5 cm, Collection HC Bodmer, HCB BBi 3 / 20 Two inscriptions from the hand Kloeber on the drawing: top: "I thank you for today, but if they allow / [by Kloeber get crossed ] I annoy you once more to a / 1 / 4 hour if I brought this / data only on the canvas / I ", bottom:" If the picture. " - The side dishes were a further study (hands) Kloeber (HCB BBi 3/20a) and a letter from the year 1863 with the memories of the painter in the meeting Beethoven Mödling in 1818 delivers (Manuscript Catalogue HCB BBi 3/20b). Unlike many of the very idealistic and emotional representations of Beethoven gives the drawing, which created August Kloeber
in summer 1818 in Mödling, a rather direct and natural impression of Beethoven's external appearance. How does the artist later recalled, even Beethoven himself felt that study to be very true to life - especially his hair had been hit very well. created after August of this drawing Kloeber two other portraits of Beethoven. One of them, a painting is missing today. It was Beethoven, along with his nephew in the wild. Still remaining, however, the number of years after the pencil study resulting chalk drawing, the image of Beethoven
the already idealized stronger. (Apparently from this presentation there were two other versions, which have also been preserved not.)
In the 1840s the Berlin lithographers Theodor created new and Carl Fischer to this chalk drawing
various lithographs - under the supervision of the painter, is stressed as in the words of some prints. Due to the spread of these lithographs, many of the artists of the 19th were copied and nachgestochen century, this portrait of Beethoven came to great popularity. Kloeber Pencil drawing other hand, found only in the 20th Century greater attention.
Source: Beethoven House in Bonn
Harald Eggebrecht: Great Cellist, Piper Verlag, Munich 2007, 407 p., 24.90 €
book: Harald Eggebrecht has a beautiful book about big Cellists posted He had always had a deep and genuine affection for musicians with their instruments are almost grown and entry to paradise on four strings. Now, the Munich-based music journalist Harald Eggebrecht has turned to the cellist. This occupational group was in the distant past of almost mythical masters such as Pablo Casals, Emanuel Feuermann and Gregor Piatigorksy given and tapered it will for some time of high talents like Daniel Mueller-Schott, Alban Gerhardt, who celebrated Sol Gabetta and others. For weddings of cello playing, there was a lot of gorgeous-piece ensemble of artists with an entirely different nature, we call only Janos Starker, Pierre Fournier, Jacqueline du Pré, Enrico Mainardi, Paul Tortelier. Even today, in Heinrich Schiff, Natalia Gutman, Mischa Maisky, Pieter Wispelwey, Yo-Yo Ma and David Geringas impressive vibrant personalities of the tray permanent guests on the international concert stages. Recently fell in the Mstislav Rostropovich Russian birch to the guild. Mag
the cello with the impact made by the violin can not quite compete, it is yet to Eggebrecht and our joy as a solo instrument is not out of fashion. The cello is as a sounding board of the expressive, as a fireplace it is authentic; rare cellist Blender. In contrast to the violin, the cello has rented the ground floor of the string sound, but it has a lift into the air and a hatch to the sky.
To musicians like night gründeln albums only in the dark, it is hardly ever in cellists. These musicians are singers and speakers, and of course Barker melancholic, they can scream and whistle, whisper and shout. The cello is the human voice to baritone. Still depends if this instrument sounds, everything from the nature of the musician from what he makes from his unit.
The book provides insightful, subtle protocols of careers, styles and temperaments. Pablo Casals was "about his cellist bravura also a" moral authority, Emanuel Feuermann proved to be furious personality who wanted to know understood their virtuosity only as a key to artistic freedom, and the unforgettable Gregor Piatigorsky a "possessed elastic, muscular cello tone of youthful" when he played Tchaikovsky's Rococo Variations about.
Eggebrecht has not all of the great cellist heard live, but its sound archive is well equipped and allowed him descriptions of high sensitivity and baroque Formulierlust. In Eggebrecht, readers can imagine many times as it sounds - that undoubtedly is the most beautiful property that can have a music journalist. Another advantage is seen in the lovely integration of the viola, which at best as a solo instrument brings honor and bashful in the modern music business is often burned in crude jokes.
A day after the fall of the Berlin Wall went Mstislav Rostropovich and played in Berlin on 11 November 1989 at Checkpoint Charlie for the reunited Berlin cello.
That there was on the viola by distinguished artists and grandeur and gives them Eggebrecht reminded without any effort in two interludes of his book. In fact, what would our world without music Tabea Zimmermann? Eggebrecht, however, would conflict with one in some detail. In his introductory essay he writes of "getting older" expectant public a false prediction, the statistical reality corresponds Curiously, although the higher life expectancy in modern times has gotten around in concert halls. The alarm message that young cellists of today often played "casually curious, calmly and without existential Urgency "seems really premature; know an expert on the scene like Eggebrecht must, however, that many musicians penetrates only in the course of life in the zones be and for its youth should not be scolded premature. would
"After words such as" irresistible blend of power, smoothness, sentiment and humor to the big backpack language, carried by the author, a little empty - to be animated immediately after reading to take place back to - though not on the " front edge of a chair, "Eggebrecht most entertaining design flaw.
Source:
Wolfram Goertz: Elevator to the sky, in: Die Zeit, 08.11.2007 No. 46
book in order
Buecher.de
or Amazon
Der Spiegel, No. 27, 1966 - The article as PDF 
In Spiegel No. 27 of the vintage 1966
"Ludwig van Beethoven: Complete works for KIavier and Violoncello:
of sonatas for piano and cello, which he introduced, Beethoven wrote five one of them. , Opus 102 No. 2 was long considered not playable - the master ("Do you believe that I am thinking of his wretched fiddle when the spirit speaks to me?") built on soloists of the stature of Pierre Fournier and Wilhelm Kempff: The pianist and cellist Jüterbog from Paris, both praised internationally, combine German romantics-Wallen and cold intellect, the perfect piece of Kling-Kunst. (. German Grammophon 138 993 / 5; 75 marks) "
CD 1, Track 5: Cello Sonata in A, Op 69 - I. Allegro ma non tanto
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