Cello Sonata, Op.50 (Járay-Janetschek, István)
It is very unlikely that this work is public domain in the EU, or in any country where the copyright term is life-plus-70 years. However, it is in the public domain in Canada (where IMSLP is hosted) and other countries where the term is life-plus-50 years (such as China, Japan, Korea and many others worldwide). As this work was first published before 1923 or failed to meet notice or renewal requirements to secure statutory copyright with no "restoration" under the GATT amendments, it is very likely to be public domain in the USA as well.
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Scores and Parts
First edition (?)
Budapest: Rózsavölgyi & Co., n.d. Plate 9158/9159.
One notes the absence though of R&C etc. on this "Plate" - is this a coissue with someone else? (His piano trio in C, Op.53 has plate 9362, and was published 1928/composed 1926 according to Dutch Library- so perhaps indeed this is a publication of the 1920s after all...)
|Work Title||Cello Sonata|
|Alternative Title||Sonate für Violoncello und Pianoforte|
|Year/Date of Composition||1923|
|First Publication||1923* or later|
|Instrumentation||Cello and Piano|
*Almost certainly after 1923 or even 1924; compare the plates on the addition above to those of the 1924-published Dohnanyi Ruralia Hungarica, Op.32d from the same publisher, for example. (Actually, I wonder if that mightn't be a misprint (well, not a misprint exactly, but one of those things that happens when a work gets arranged multiple times...), since the 1937-published Leo Weiner Passacaglia also has a plate in the 6000s, but most 1924 works from them have plates in the 4000s?...) - Schissel
See above, though; the absence of "R. & C." or similar (or later, "S.J.J.") on the plate suggests something else might be going on (co-issue?) - that this may be someone else's plate no. entirely.
- Rózsavölgyi was not consistent about their use of plate prefixes (R. & C., R. et T., etc.) and seems to have dropped them altogether in later years. The S.J.J. prefix likely stands for the composer's initials as he used the name Stephán Járay Janetschek. This implies that the composer paid for the engraving and printing himself and appointed Rózsavölgyi as his agent. This practice was more common than I previously realized as I've seen a number of similar cases here with other publishers. Carolus