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The finale is the shortest movement of the entire composition lasting little more than 4 minutes. It is again a D minor sonata form. The resolute first subject soon gives place to the F major second theme. The development mixes them. In the recapitulation the second subject appears in D major. This
253:(2001) Henrique Oswald: Música de câmara para violoncelo e piano: Berceuse; Elegia; Sonata Op. 21; Sonata-Fantasia Op. 44 – duoCERVALI: Milene Aliverti (cello) and Lucia Cervini (piano) – Apoio FAPESP (CD, uncommercial)
142:. In the second part of the development (115–134) this motif is transformed into piano accompaniment for the cello working out the descending motif (found originally in the first subject accompaniment). The music
59:. There is also a manuscript arrangement for double bass dated 1901. It was included by Fausto Borém De Oliveira in his 1993 thesis. Same thesis proposed some errata for the 1982 edition.
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section can be easily divided into smaller parts. After a brief introduction (bars 83–90) with only fragments of it appearing, the principal theme is carried through different
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in the piano part, this theme returns, as the instruments change the roles. For the coda the cello takes the leading position again.
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Henrique Oswald (1852–1931). Un compositeur brésilien au-delà du nationalisme musical. L’exemple de sa musique de chambre avec piano
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accompaniment. At first the theme is given to cello, then it is played for another time by the piano. The second subject is in
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A performance of the sonata by Marta Carmo do
Espirito Santo (cello) and Bettina Chaussabel (piano), at the Kammermusiksaal –
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267:(Boccherini, Sallinen, Beethoven, Oswald , Proto) – Marcos Machado (double bass), Ney Fialkow (piano) – Blue Griffin
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theme is sung twice by the cello with the piano providing an accompaniment. After a middle section with turbulent
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Henrique Oswald. Sonata Op. 21 (violoncelo e piano). São Paulo: Editora Novas Metas, ©1982. 27 + 8 p. (edited by
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There are two autograph versions of the sonata. The first one is dated 1898 (same year as the composition of the
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242:(1983) Henrique Oswald: Integral para violoncelo e piano; obras para piano solo – Antônio del Claro (cello),
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2001. 215 p. Dissertação (mestrado) - Universidade
Estadual de Campinas, Instituto de Artes, Campinas, SP.
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of the movement: two of them form the theme, while the other two are used for a
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states the principal theme again, and then comes the second subject in
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da sonata op. 21 e a sonata-fantasia op. 44 para violoncelo e piano.
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The 1982 published score of the sonata can be found in
Appendix to
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55:), the second is 1901. The first version was published in 1982 by
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was composed in 1898 in
Florence. It is dedicated to composer
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Interpretação em
Henrique Oswald: transformações entre o
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time the major mode is kept up to the end of the sonata.
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in Essen, Germany, on
October 19, 2010 (YouTube) :
110:, the first subject of which presents all the four main
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265:Metamorfora: Works for double bass and piano
615:Music dedicated to ensembles or performers
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554:List of compositions by Henrique Oswald
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43:. Approximate duration is 21 minutes.
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188:The second movement is a romance in
165:pedal prepares the A leading to the
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83:Romanza. Adagio molto espressivo (
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159:. The third part (134–153) by a B
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595:Compositions by Henrique Oswald
412:Folkwang Universität der Künste
185:based on the descending motif.
1:
533:String Quartet No. 4, Op. 46
528:String Quartet No. 3, Op. 39
523:String Quartet No. 2, Op. 17
514:Cello Sonata No. 2, Op. 44 (
538:Piano Quartet No. 2, Op. 26
53:Piano Quartet No. 2, Op. 26
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509:Cello Sonata No. 1, Op. 21
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332:This CD formed a part of
106:The first movement is a
605:Compositions in D minor
323:Cervini 2001, pp. 53–73
96:Molto allegro (D minor)
399:Lucia Cervini's thesis
334:Lucia Cervini's thesis
138:(91–114). It stops in
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543:Piano Quintet, Op. 18
177:. The key is changed
309:Cervini 2001, p. 161
244:José Eduardo Martins
225:José Eduardo Martins
34:Luigi Stefano Giarda
300:Cervini 2001, p. 52
258:Double bass version
57:Editora Novas Metas
404:2017-12-07 at the
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339:2017-12-07 at the
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246:(piano) – Funarte
18:Cello Sonata No. 1
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359:allegro agitato
355:Lucia Cervini.
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202:. The broad
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494:(1902–1903)
128:development
108:sonata form
37: [
589:Categories
283:References
232:Recordings
124:exposition
208:arpeggios
204:cantilena
147:modulates
136:registers
69:movements
63:Structure
402:Archived
364:Archived
337:Archived
272:Archived
218:Editions
193:♭
162:♭
154:♭
102:Analysis
88:♭
491:Le Fate
350:Sources
263:(2015)
250:(2 LPs)
181:in the
175:D major
140:A major
120:F major
112:motives
78:D minor
47:History
22:D minor
565:Portal
486:(1900)
483:Il Neo
478:(1872)
467:Operas
269:BGR369
26:Op. 21
196:major
167:tonic
157:major
91:major
41:]
28:, by
278:(CD)
183:coda
134:and
132:keys
16:The
424:III
198:in
149:to
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39:it
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452:e
445:t
438:v
416:I
190:B
151:A
93:)
85:B
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