Schönebeck: Three Duetts for Violin and Cello, Op. 8, No. 1 in D Major, No. 2 in E-flat Major and No. 3 in A Minor

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Schönebeck: Three Duetts for Violin and Cello, Op. 8, No. 1 in D Major, No. 2 in E-flat Major and No. 3 in A Minor. Set of three, facsimile of edition ca. 1800 (parts only) and modern performing editions, scores and parts.
Sales price $16.00
Purchase includes

Performance Set
Modern Score and Parts

Schönebeck Duett - complete set

Image of the Original Printing

Schönebeck Duett - facsimile set

Performance Set
Modern Score and Parts

Schönebeck Duet 2 Complete Set

Image of the Original Printing

Schönebeck Duet 2 Facsimile Set

Performance Set
Modern Score and Parts

Schönebeck Duet 3 Complete Set

Image of the Original Printing

Schönebeck Duet 3 Facsimile Set

General Editorial Comments

The story of finding the original editions

Backpage Information

Notes and comments

Notes & Comments
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Description

Karl Siegmund Schönebeck (1758 - ?) took up the cello when he was 18. He had various town musician appointments, and was active in Leipzig. He wrote several concerti, operas, and Three Duetts for Violin and Cello, Op. 8, published ca. 1800. He is not listed in NewGrove or MGG.

First movements of all three are sonata form.  Duett No. 1 has the only a slow movement in the set, an Andante. Finales of No. 1 and No. 3 are Rondos, while that of No. 2 is another sonata form.

Rare 18th and 19th Century Chamber Music including the Cello

In the late 1970s I acquired two bound volumes of duos for violin and cello. As a cellist, I was attracted to them since they were “duos concertante”, with the cello part equal to the violin part. There were 58 duos, with all the violin parts bound in one volume, and all the cello parts in the other.

I am offering many (but not all) of these duos in both facsimiles of the original (no scores were printed) and new performing editions by myself with scores and parts done on Finale. These editions will attempt to correct errors, resolve inconsistencies in dynamics, articulations, bowings, etc. However I will not supply such markings where there is no reason to do so, leaving that to the whim of the performers.

Facsimilies

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