für Violoncello und Klavier-With this composition Editio Baerenreiter Praha launched the Complete Critical Edition of Works by Miloslav Kabelac a prominent Czech composer who lived from 1908 to 1979. The editor of this complete edition is a musicologist and a noted expert on Kabelac's work Dr. Zdenek Nouza. The outline of the edition is as follows: I. Orchestral and Concert compositions II. compositions for solo Voice or a Chorus with Orchestra or Instrumental Ensemble III. songs with Piano Choruses Children's Choruses IV. Chamber compositions V. compositions for Piano and Organ.Sonata Op.9 for Cello and Piano which came into existence betweenyears 1941-42 has never been published before. Therefore as part of the Complete Edition this composition appears in print for the first time. Its edition is based on an authograph present in the Museum of Czech Music in Prague. The prominent Czech cello player Daniel Veis who also premiered the complete four-movement version has revised the cello part of this edition.

for String Quartet op. 35a-Josef Suk played second Violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian St. Wenceslas hymn. The hymn?s message a plea for the well-being of the Czech people directed at their patron saint was immediately understood by the audience.The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914 played by the CzechPhilharmonic. That same year the piece was published by Fr. A. Urbánek together with arrangements for Piano and Organ.This first Urtext edition prepared by the Sukscholar Zdenek Nouza is published in two scorings one for string quartet and another for String Orchestra (BA9584). The orchestral version differs in some details and has an added part for Double Bass.First Urtext editionInformative trilingual Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editorTwo versions published in two separate editions

Esa-Pekka Salonen's YTA III for solo Cello. This work was written for Anssi Karttunen who gave the first performance at the Musiikin aika Festival Viitasaari Finland on 23rd July1987.'I began to work on the YTA series in 1982. The first piece was for solo alto flute the second for pianoand the third for cello. The title ‘Yta’ is a Swedish word meaning ‘surface’. I wanted to writeverydemanding virtuoso music where the surface is extremely busy but the formal process partly hiddenbehind the frenetic stream of fast gestures is considerably slower.I tried to imagine what happens to the famous moth thatcircles around a lamp in Skryabin’s Versla flamme after the wings have finally touched the flame. A series of gestures is introduced in thebeginning. Each gesture undergoes an individual development culminating in spasms beforedyingaway. YTA III is a study of the death of an organism; the music is violent and ugly.' - Esa-Pekka Salonen

Par KOSKELIN OLLI. X'Three (2003/2021) by Olli Koskelin is the third piece of a solo cello suite consisting of seven compositions. Each of the seven pieces can be performed individually or detached with other X'-compositions. Different works are yet to be performed chronologically. The X'-works are composed by using the same material viewed from many different angles. Their structure can be seen as a film starting several times from the beginning and from the same settings always looked from a new perspective. In some compositions of the X'-suite seemingly random fragments are joined together organically in other works of the suite. The story, tale, or plot of the music and the gestures and figures of it trans-form in a new context but remain identifiable. Olli Koskelin's (born 16 April 1955) compositional output reflects a wide range of interests. The vast area covered by his style encompasses the neo-impressionism of the piano work Courbures (1989) to the post-expressionist echoes of his Music for String Quartet (1981) as well as the breakneck virtuosity of his clarinet piece Exalte (1985/1991) and the rich romantic textures of his orchestral piece ... like a planet silently breathing... (1993). He often uses the overtone series like the French spectral composers and avoids dramatic culmination. Soft harmonics, tranquil arching melodies, a leisurely rhythmical pulse and a coherence of mood are in evidence in his later works as in Uurre (1997) for chamber ensemble, Miniatures (1997) for string quartet and Circles within for 19 solo strings. / Date parution : 2023-01-24/ Recueil / Violoncelle