Three Suites for Violoncello solo. Opus 131c: Urtext Edition

ENGLISH EDITION AND SPANISH EDITION, BILINGUALThe Three Suites for Violoncello, op. 131c solo by Max Reger (1873-1916) were written between 1914 and 1915 for three cellists of his time: Julius Klengel, Hugo Becker and Paul Gr mmer. They are now an important part of the complex solo literature for this instrument and have been established as standard works for all ambitious soloists. This urtext version is based on the first three-volume printed edition of the Suites published by N. Simrock, (Berlin and Leipzig), in 1915. The dates of the first performances of the Cello Suites are unknown. However, it is established that after the death of the composer, both Gr mmer and Klengel performed in concert the works that Reger had dedicated to them. Klengel, for example, performed the Adagio of the First Suite in a commemorative concert for Reger in the Church of St. Thomas in Leipzig. Suites during the Baroque were one of the most prominent musical forms, although Bach is clearly the starting point, it is not the model that Reger uses for the overall structure. The composer does not define "suite" as a series of dances but gives the genre a particular new style, chromatic movements, and a sequence of three or four movements that always begins with a Pr ludium, however, in the second suite there is a Largo between la Gavotte and la Guigue that breaks with traditional schemes. Also, it combines harmonic and contrapuntal elements inspired by Johann Sebastian Bach. In fact, the choice of shades for the first and second suites also coincides with the beginning of the work on Bach's Six Suites. Reger may have used his works for violin Op. 117 and Op. 131a in particular to explore in-depth the composition of preludes and fugues for solo stringed instruments. Throughout the work, there are recapitulative parallel passages that raise doubts about inaccuracies and differences in volume nuances, although they could be caused by errors in the first edition when copying from the manuscript since it has been lost, such In this case, both sections were unified so that they have congruence in the musical spelling. Besides, the abundance of warnings has been carefully removed. Editor's suggestions have been placed in square brackets.