Felix Mendelssohn - Sonata for Cello and Piano No. 2 [With score]
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- čas přidán 19. 05. 2019
- -Composer: Jakob Ludwig Felix Mendelssohn Bartholdy (3 February 1809 - 4 November 1847)
-Performers: Mischa Maisky (Cello), Sergio Tiempo (Piano)
Sonata for Cello and Piano No. 2 in D major, Op. 58, written in 1843
00:07 - I. Allegro assai vivace
07:33 - II. Allegretto scherzando
13:10 - III. Adagio
18:31 - IV. Molto allegro e vivace
Mendelssohn was briefly between jobs when he wrote the second of his two cello sonatas; he was making the transition from handling musical matters for the King of Prussia to assuming the directorship of the new Leipzig Conservatory. The attendant stress of this period is hardly reflected in this sonata, which the composer wrote for his brother Paul, a cellist. The first movement, Allegro assai vivace, begins with a surging, confident melody for the cello, underpinned by a pressing piano accompaniment. The keyboard then presents its own statement of the theme, the cello now relegated to the background. The piano remains dominant during the introduction of the more lyrical but still impulsive second subject, but the cello eventually gets its turn at an extension of the tune. Unwary listeners might gather that Mendelssohn is here launching a third subject, but the cello is clearly playing the flowing outline of the melody the piano has just broached. Indeed, the instruments will be treated as equals throughout most of this sonata, and often each is allowed a virtuoso flourish. Mendelssohn develops his themes sequentially and neatly, with an almost circumspect ardor that never subordinates one instrument to the other.
The second movement, Allegretto scherzando, opens with a whimsical tune in the piano that is quickly taken up pizzicato by the cello. The melody becomes a bit more lyrical when played arco, but Mendelssohn reserves real songfulness for the second theme, which the cello sings out over a palpitating piano accompaniment. The movement continues with a repeat of the first section that turns uncharacteristically gruff before a brief reprise of the second theme, again in the cello. The instruments quietly slip away, playing fragments of both melodies.
The Adagio begins with graceful piano arpeggios that follow the chord structure of the aria "Es ist vollbracht" from Bach's St. John Passion, reflecting Mendelssohn's lifelong devotion to the music of the German Baroque master. The piano recedes into the background as the cello offers an aria of its own, which grows more ardent and recitative-like as it progresses. Before long, the cello is playing its aria over the piano's chorale-like arpeggios; at the very end, the piano offers its own treatment of the cello's theme. Cellist Coenraad Bloemendal has proposed reading this movement as "a programmatic representation of the competing religious forces that coexisted in Mendelssohn's mind" -- the "Lutheran" piano part overlapping and ultimately embracing what Bloemendal describes as the cello's "cantorial chant."
The extensive finale, Molto allegro e vivace, begins with hectic yet low-key material that recalls the composer's famous Spinning Song. All of this sonata-form movement's thematic elements are spun from the material of the first several measures. Mendelssohn does not vary or develop this material so much as use it to put the two instruments through accelerating, arduous runs, culminating in a final section that creates a dazzling effect without descending to vulgarity.
[allmusic.com] - Hudba
![Francis Poulenc - Sonata for two Pianos [With score]](http://i.ytimg.com/vi/kzmlskID3pc/mqdefault.jpg)
My cello and orchestra arrangement of this piece as “Cello Concerto in D major”
Cello solo
Woodwinds:
2 Flutes
2 Oboes
2 Clarinets in A
2 Bassoons
Brass:
2 Natural Horns in D (1st, 2nd and 4th movements), G (3rd movement)
2 Natural Trumpets in D (except 3rd movement)
Percussion:
2 Timpani in D and A (1st and 4th movements), B and F♯ (2nd movement) (except 3rd movement)
Harp (opt.) (except 3rd movement)
Strings:
Violins 1, 2
Violas
Cellos
Basses
Who cares
00:07 - I. Allegro assai vivace
07:33 - II. Allegretto scherzando
13:10 - III. Adagio
18:31 - IV. Molto allegro e vivace
this song plays at my work everyday on repeat and i finally found it!!!!!!!!!
That’s cool, where do you work?
@@castleguard_of_xbox360 -- He works on Death Row....Senior Electric Chair Technician......
@@castleguard_of_xbox360 That's cool, where do you live?
@@qfcbv 🫢
@@qfcbv That's cool, what are your banking details?
Felix Mendelssohn:2.D-dúr Gordonkaszonáta Op.58
1.Allegro assai vivace 00:07
2.Allegretto scherzando 07:33
3.Adagio 13:10
4.Molto allegro e vivace 18:31
Mischa Maiszkij-gordonka
Sergio Tiempo-zongora
Köszönöm az értékelést
Finally a score on YT for this piece, thank you!
やはりソロ楽器から始まるのは当時の型破りぶりが発揮されてますね！！
Gorgeous performance.....BRAVI TUTTI from Acapulco!
Hermosa sonata, digna de un romántico genial.
3:18 this part is amazing
Thanks for uploading!
Sans doute la plus ancienne parmi les plus belles sonates pour violoncelle et piano. Mais il en a eu d'autres comme celle de Debussy, par exemple...
the first few systems sound like an anime song
and now, i will do this for my next competition.
Это современные композиторы откровенно воруют у прошлых авторов, фантазии не хватает.
stunning... 11:20
00:07
7:33
13:10
사랑해요
Mischa makes some modifications to the cello part to the benefit of the music.
Possibly using an Urtext edition
17:48 Bach-Aria Nr.30 "Es ist vollbracht"??
Good find!
what is the name of the notation with a bar across a stem like in the second measure and several others?
@@theslayer1120 Specifically measured tremolo.
I think it’s a double acciaccatura
they're sixteenth notes
@@limin1462 No, not the sixteenth notes, the ones with a bar in the middle of the notes not the top of the notes
@@patrickhackett7881 It's a shorthand way of notating what is written in full in the first measure. It's an eighth note tremolo as was previously mentioned.
7:33
18:31
may you all please allow me, just to give you a tip for listening or playing (e.g. in a concert) Have the courage to do the following: Start with sonata no.1, then let follow sonata no. 2, but starting with movement III, then II, and in the end I. as final movement (without IV, because this is not as beautiful composed than all the other movements of both sonatas)
But..Mendelssohn wrote it in the original order and it is standard 4 movement form for Classical sonatas. Rearranging is creative and I'm all for it except in strict structures