Cello Concerto was composed by Thomas Agerfeldt Olesen in 2015 (rev. 2017) - 'To the memory of my mother'. Written to Nicolas Altstaedt on commission from Aarhus Symfoniorkester and Die Duisburger Philharmoniker with support from The Danish Arts Foundation First perfomance in Ă…rhus Sept 24 2015. Programme note: This concerto contains a lot of technical and structural stuff that I have forgotten all about now. Without it though the piece would have been a big mess of emotions since it was written while my family and I were taking care of my mother as she was terminally ill. I recognize ithaving become a kind of rondo. The music wanted a place to return to and perhaps it is due to the fact that my mother was always someone I could return to when everything else was exploding. In the end the rondo dies and the music goes somewhere else like all mothers.

Par KOKKONEN JOONAS. Format: New Edition portrait/ RĂ©pertoire / Violoncelle et Orchestre

Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?ConcertstĂĽck? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in KrakĂłw. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the ConcertstĂĽck featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to DĂĽsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil BockmĂĽhl. BockmĂĽhl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in KrakĂłw, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a ConcertstĂĽck and restores Schumann?s musical text, free of posthumous interventions. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.'

Like every other great 19th-century solo concerto Dvorák?s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák?s autograph score were actually written by the cellist Hanu? Wihan; but Bärenreiter?s edition now reveals that some details in the Orchestral parts are also in his writing showing just how closely the two musicians were working together.The editor Jonathan Del Mar has painstakingly examined all the surviving sources including two that have hitherto been either ignored or crucially undervalued in order to produce anauthoritative edition which restores for the first time since the original edition was published in 1896 - Dvorák?s final and definitive version of the solo Cello part. This differs in details in almost every bar from the version found in all other modern editions while hundreds of corrections have also been made to the Orchestral parts.- With Dvorák?s final and definitive version of the solo Cello part.- With hundreds of corrections in the solo Cello part as well as the Orchestral parts.- With hitherto unknown details regarding the collaboration between Dvorák and Wihan.- With Dvorák?s original Piano reduction.- With Feuermann's and Casals' alternatives to a passage in the first movement.- Full score performance material (BA9045) Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale.

e minor-Edward Elgar's concerto for violoncello his last major work is a cleanly structured and emotionally charged composition. It is no wonder that this work is of central importance in the cello literature. Jonathan Del Mar's editorial skills show themselves in the exacting placement of dynamics articulation and expression markings.The edition restores all Elgar's solo cello fingerings and bowings and offers a facsimile of the original solo cello part in the critical commentary. Jonathan Del Mar also documents the performing tradition of the work and its recording under Elgar's baton. This is the last word on this famous work a reference edition for everycellist!First ever critical editionAll existing sources consultedFirst ever critical commentary'I highly recommended this purchase even if you own a well-worn copy of another edition.'(American String Teacher vol. 56 No. 3 August 2006)'Ownership of this fine masterly authoritative and elegantly printed edition coupled with the fascinating Critical Commentary must be obligatory for all cellists!'(ESTA News

Op. 65 in G Major-This concerto by Georg Goltermann is one of the easiest of the eight solo concerts he wrote for this instrument. Drawing closely on famous predecessors such as Robert Schumann's A minor Concerto his piece captivates the listener with a rich vein of melody an expansive and elegiac slow movement and a wittily amusing Allegro presto as a finale. The publication is a revised and updated edition in which the existing Dowani recording has been augmented with a new piano reduction and the solo part has been supplied with fingering marks.

b minor-Like every other great 19th-century solo concerto Dvorák?s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák?s autograph score were actually written by the cellist Hanu? Wihan; but Bärenreiter?s edition now reveals that some details in the Orchestral parts are also in his writing showing just how closely the two musicians were working together.The editor Jonathan Del Mar has painstakingly examined all the surviving sources including two that have hitherto been either ignored or crucially undervalued in order to produce anauthoritative edition which restores for the first time since the original edition was published in 1896 - Dvorák?s final and definitive version of the solo Cello part. This differs in details in almost every bar from the version found in all other modern editions while hundreds of corrections have also been made to the Orchestral parts.- With Dvorák?s final and definitive version of the solo Cello part.- With hundreds of corrections in the solo Cello part as well as the Orchestral parts.- With hitherto unknown details regarding the collaboration between Dvorák and Wihan.- With Dvorák?s original Piano reduction.- With Feuermann's and Casals' alternatives to a passage in the first movement.- Full score performance material (BA9045) Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale.