Par MARTINEZ-CAMPOS JAVIER. Sonata pour violoncelle et piano, composée en 2016 est dédiée au grand violoncelliste français Gautier Capuçon. Cette pièce en trois mouvements dure environ 19 minutes. Le premier mouvement, au caractère énergique, est de forme sonate traditionnelle. Le deuxième, lent et expressif, est de forme Lied. Le troisième et dernier, un rondo virtuose et pétillant. Le premier mouvement n'utilise qu'un seul thème et le développe en variations rythmiques, harmoniques et mélodiques qui agissent simultanément comme un« thème A» et un« thème B ». Ce thème apparaît dans les autres mouvements, soit comme thème secondaire, soit une nouvelle fois sous forme de variations ou de développements. Il en résulte une œuvre de grande virtuosité technique, pleine d'énergie et d'expressivité. Les notes du thème forment le nom du violoncelliste. / Date parution : 2022-11-08/ Répertoire / Violoncelle et Piano

Original Version - Edition for Cello and Piano. 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 ?Concertstück? ? 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 Kraków. It is presented in a beautifully printed edition for cello with Schumann?s original piano reduction. 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 Matching orchestral material available separately from Edition Peters Recording of the Concertstück 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 Düsseldorf, 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 Bockmühl. Bockmühl 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 Kraków, 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 Concertstück and restores Schumann?s musical text, free of posthumous interventions. It is presented in a beautifully printed edition for cello, with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. ?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.?

Par AHO KALEVI. Kalevi Aho's (b. 1949) concerto no. 2 for cello and orchestra (2013) is in five movements performed without a break. It begins with a swinging Berceuse, followed by a very quick, virtuosic Presto in 5/8 time. The heart of the concerto is the cadenza-like third movement, Adagio, dominated throughout by the soloist. A fairly short Allegretto is followed by the closing Epilogue. This has flashbacks to the opening movement, and they lead to a cadenza in which the soloist plays only flageolet notes and pizzicatos. The concerto ends with a virtuosic coda in 5/8 time evocative of the second movement. Arto Noras gave the concerto its first performance with the Lahti Symphony Orchestra conducted by Osmo Vänskä in Naantali on June 5, 2014. It was a joint commission from the Naantali Music Festival and the Lahti Symphony Orchestra. This product consists of the solo part (18 pages) and piano reduction by Kari Vehmanen (62 pages) - have a look inside by clicking “sample”. The concerto is scored for a fairly small orchestra. The instrumentation is 2(II=afl)2(II=ca)2(II=bcl)2-2200-bar-02-str and the orchestral material is available for hire from the publisher. / Date parution : 2022-05-31/ Répertoire / Violoncelle et Piano

Russian army officer Cesar Cui is best known for his avocational life in music – as a composer and music critic. Even though Cui composed in almost all genres of his time his status today in therepertoire is considerably small based (in the West) primarily on some of his Piano and chamber music – such as the (originally) Violin and Piano piece Orientale. Part of Kaleidoscope a collectionof 24 miniatures (most of which are now forgotten) Orientale has been a staple on violinists' and cellists' encore lists for more than a century now. The piece is a prime example of Cui’s strongesttalent the crystallization of mood at an instant in his instrumental miniatures. The 6/8 time Allegretto rides along on a tambourine rhythm set up by the soloist in the opening bars with the main tune offered by the Piano andlater taken up “with tenderness” by the Cello. As the name suggests this beautiful miniature carries oriental sounds and motives symbolising the mysterious atmosphere of the desert and with a performance time of under2 minutes is a perfect addition to any cellist’s repertoire.

piano reduction with solo part. Par SHCHEDRIN RODION. Shchedrin’s œuvre spans nearly every musical genre, and it is hardly surprising that an output of such versatility contains some rather remarkable instrumental combinations, for example “Music from afar” for 2 bass recorders, or “Balalaika” for a solo violin playing pizzicato throughout. This predilection for the unusual leads the composer in “Parabola concertante” with its basically subdued and contemplative mood to add a charcteristic counterpoint by contrasting the accompanying string orchestra with timpani. The piece was composed for master virtuoso Mstislav Rostropovitch, who played the solo part in the first performance at the International Cello Festival in Kronberg./ Répertoire / Violoncelle et Piano

Szymon Laks 'Sonate pour violoncelle en 1936 par Maurice Maréchal, les violoncellistes de renom français de son temps, et le spécialiste de Ravel Vlado Perlemuter dans Laks 'la maison de Paris a adopté soulevé par le baptême. Cette plante élégante, virtuose et parfaitement en forme est le Néoclassicisme français et - surtout dans sa seconde (blues) et le troisième mouvement (Perpetuum mobile) - Ravel engagé. Elle montre un jeune compositeur à la hauteur de sa maîtrise, qui se trouvait sur son chemin vers le succès international, comme le déclenchement de la 2e Seconde Guerre mondiale et la collaboration du régime de Vichy et l'Allemagne nazie, sa carrière a pris fin abruptement. Laks a été déporté à Auschwitz et a survécu à l'Holocauste comme un meneur d'hommes dans la chapelle du camp d'extermination de Birkenau. Ce joyau de la littérature pour violoncelle était épuisée depuis des décennies et est finalement vu et corrigé par une réimpression de la première édition à nouveau disponible.'... Un travail unique et inoubliable à partir de 1932, les influences du jazz, intense contrepoint comme Ravel et alla montre Honneger, mais qui est vraiment différent de tout ce dans le répertoire. Après un Andante Allegro robuste et bluesy suivie par un transfert modal avec brio attractif finales, presque minimaliste dans ses ostinatos hypnotiques. 'BBC Music Magazine / Violoncelle Et Piano / 48 pages / niveau : Avancé / Partition

Arranged For Violoncello and Piano-In 1891 Dvorák arranged the final eighth dance of his popular first set of the Slavonic Dances Op.46 for violoncello and piano. The Czech composer Jir Gemrot born in 1957 has followed his example and has arranged the remaining dances for the same scoring. However in order to approach Dvorák?s ideal sound Gemrot based his arrangements on the composer's orchestral score.Dvorák?s own arrangement of Slavonic Dance No. 8 has been taken from the Complete Edition of the Works of Anton n Dvorák Volume IV/3 (Compositions for Violoncello).First complete edition of the first set of Slavonic Dances arranged for violoncello and pianoby Jir GemrotIncludes Dvorák?s own arrangement of Dance No.8With fingering and bowing by Tomá? Jamn kForeword (Cz/Eng/Ger) by Eva Velická

Suite pour violoncelle et piano. Par LAKS SIMON. Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the „École de Paris“. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the „Association of Young Polish Musicians“, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de l’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak‘s enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year. . / Date parution : 2024-01-06/ Répertoire / Violoncelle et Piano

Par KILLMAYER WILHELM. ‘Humour plays a role, and my pieces are also an attempt to entertain people.’ Words not often associated with contemporary music, but Wilhelm Killmayer wants to place fun and seriousness side by side. Different tonal spheres are found in the “Impromptu” and the jaunty “Scherzo lento” which uses tap tones for example. The “Chorale” that follows allows the music to drift seamlessly into atonality. In the fourth romance ‘Im Schumannschen Ton’ (‘The Schumann Sound’), a diatonic melody is complicated so much that the ending distorts to the beginning, ‘just like man combines many different qualities’. In the concluding “Capriccio”, shifting time signatures and dynamic ?uctuations are combined in a virtuoso manner. A humourous piece which demands the purest concentration from the players./ Répertoire / Violoncelle et Piano

Par DYSON GEORGE. First performed at the 1936 Three Choirs Festival in Hereford by Thelma Reiss (cello) and the London Symphony Orchestra, conducted by the composer. / Date parution : 2022-09-07/ Répertoire / Violoncelle (ou Alto) et Piano

Par JOUBERT CLAUDE-HENRY. / Niveau : Fin Du 1er Cycle / classique / Répertoire / Violoncelle et Piano