Borodin - Cello Sonata h-moll (1860)

Borodin - Cello Sonata h-moll (1860)


Borodin - Cello Sonata h-moll (1860). You can download the PDF sheet music Borodin - Cello Sonata h-moll (1860) on this page. Borodin's Sonata marks the beginning of a new epoque in style for Russian violoncello literature; one can recognize this further in the works of Karl Davidov, Peter Tchaikovsky, Anton Rubinstein. The Sonata was probably composed in 1860. Borodin had been a very good cellist himself, having played a great deal of chamber music and having arranged numerous works for the 'cello. The 'cello parts in his Sonata demonstrate how he, as a composer, knew of the virtuosic possibilities of the instrument. Borodin was an enthusiastic admirer of Bach and the short theme of the Fugue from the Sonata No. 1 in G minor for solo violin BWV 1001 was to become the core of his Cello Sonata, transposed into B minor. He developed this theme in several variations.
The Sonata for violoncello and piano by A. P. Borodin, composed at the beginning of the sixties in Heidelberg, takes a special place. This composition stands at the beginning of a quarter of a century when the genre of violoncello Sonata with piano was being developed as a renaissance of Russian 'cello literature. Borodin's Sonata absolutely deserves special consideration. In Borodin's Sonata there already emerges, from the theme of the G minor Fugue by Bach, the typical melodic character of the former's later works. Some episodes relate in sound to his Opera "Prince Igor". Notwithstanding its virtuosity, the violoncello part is of expressive, song-like lyric poetry. This is a complete version of Cello Sonata by Michael Goldstein, that was found in Russia.


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PDF format sheet music

Instrument part: 12 pages. 1571 K

 

Piano part: 43 pages. 23628 K

 

Borodin - Cello Sonata h-moll (1860) - Instrument part - first page Borodin - Cello Sonata h-moll (1860) - Piano part - first page
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In 1860, Borodin completed a charming Cello sonata h-moll that he wrote for a certain Frau Stutzmann, an excellent pianist. The initial theme of the opening Allegro borrows from the fugue of J.S. Bach's Sonata No.l in G minor. The second melody, even though derived from the first, possesses an unexpected Russian flavour and was exploited in the Symphony No.2. The sweet reverie of the central Andante dolce, subtitled Pastorale', foreshadows the Nottumo of the Second String Quartet. In the more rustic middle episode, a Russian folk form again breaks through. A short cadence on the cello precedes the recapitulation of the poetic introductory theme. The Finale, in form of an homage to Bach, begins with eight maestoso bars before concluding with a virtuoso presto.
 
 
     
 
 
 
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