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Saint-Saëns: Sonata No. 1 in c minor, Op. 32 for Cello and Piano
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Saint-Saëns: Sonata No. 1 in c minor, Op. 32 for Cello and Piano

Saint-Saëns: Sonata No. 1 in c minor, Op. 32 for Cello and Piano

$13.98

Original: $39.95

-65%
Saint-Saëns: Sonata No. 1 in c minor, Op. 32 for Cello and Piano

$39.95

$13.98

The Story

At the beginning of the 1870s, Saint-Saëns showed a particular fondness for the violoncello. He completed his first cello sonata in December 1872, immediately after finishing his first cello concerto (see HN 711). The sonata is strongly reminiscent of Beethoven, not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding, in parts highly virtuosic sonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire. Our Urtext edition takes all surviving sources into account - for the first time ever. Pascal Rogé and David Geringas kindly provided the markings for the piano and cello parts.

Saint-Saëns: Sonata No. 1 in c minor, Op. 32 for Cello and Piano - Image 2

Details & Craftsmanship

Every detail has been carefully considered to bring you the perfect product.

Saint-Saëns: Sonata No. 1 in c minor, Op. 32 for Cello and Piano - Image 3

Details & Craftsmanship

Every detail has been carefully considered to bring you the perfect product.

Saint-Saëns: Sonata No. 1 in c minor, Op. 32 for Cello and Piano - Image 4

Details & Craftsmanship

Every detail has been carefully considered to bring you the perfect product.

Description

At the beginning of the 1870s, Saint-Saëns showed a particular fondness for the violoncello. He completed his first cello sonata in December 1872, immediately after finishing his first cello concerto (see HN 711). The sonata is strongly reminiscent of Beethoven, not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding, in parts highly virtuosic sonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire. Our Urtext edition takes all surviving sources into account - for the first time ever. Pascal Rogé and David Geringas kindly provided the markings for the piano and cello parts.