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.

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 Århus 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.