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Violoncello Concerto No. 1 in D minor Op. 193 (RAFF JOACHIM)
Cello, Orchestra
[Score]
Breitkopf & Härtel
Par RAFF JOACHIM. / Date parution : 2023-06-01/ Répertoire / Orchestre et Viol...
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Par RAFF JOACHIM. / Date parution : 2023-06-01/ Répertoire / Orchestre et Violoncelle
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Robert Schumann: Concerto for Cello and Orchestra (Concertstück): Cello and
Cello, Orchestra
Peters
Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edi...
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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 ?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. 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 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. ?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.'
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Cello Concerto (BRYARS GAVIN)
Cello, Orchestra
[Study Score / Miniature]
Schott
Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower ...
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Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London. Gavin Bryars/ Répertoire / Violoncelle et Orchestre
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Fanfares
Cello, Orchestra
Barenreiter
This study score is based on the score and complete performance material of Dvor...
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This study score is based on the score and complete performance material of Dvorák's famous B minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny.Like every other major 19th-century cello concerto, Dvorák's concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák's autograph were written by the cellist Hanus 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 conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, Dvorák's definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts. - Includes Dvorák's final and definitive version of the solo cello part - Incorporates new discoveries regarding the collaboration between Dvorák and Wihan - With Feuermann's and Casals's alternative versions of a passage in the first movement - Detailed Foreword (Eng/Cz/Ger) / Violoncelle Et Orchestre
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Cello Concerto
Cello, Orchestra
Boosey and Hawkes
Désormais bien connue pour son virtuose mais très engageant par écrit pour so...
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Désormais bien connue pour son virtuose mais très engageant par écrit pour solo instruments avec orchestre, Magnus Lindberg ici tour à tour son attention sur le violoncelle. Le concerto, datant de 1997-99, est 'dans un style très tendu qui se déplace à un quickstep à travers toutes les possibilités de l'instrument' (magazine Diapason). Elle a été enregistrée par Anssi Karttunen avec le Philharmonia Orchestra dirigé par Esa-Pekka Salonen, pour Sony. / Violoncelle Et Orchestre
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Concerto For Cello And Chamber Orchestra. Score And Parts
Cello, Orchestra
[Sheet music]
Kompozitor
/ Violoncelle Et Orchestre / 52 pages / Partition
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Concerto For Cello And Orchestra #3 C Major Ben 105
Cello, Orchestra
Simrock
Sans raison valable, cinq concertos violoncelles du Pleyel sont éclipsées par ...
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Sans raison valable, cinq concertos violoncelles du Pleyel sont éclipsées par les concertos de ses contemporains, notamment par celles de Joseph Haydn. Contributions de Pleyel très originales au genre, cependant, qui sont parmi ses oeuvres les plus intéressantes, captivate une fois de plus l'auditeur par le biais du compositeur inventivité et charmant noblesse musical. Le violoncelliste hongrois Peter Szabó, qui a présenté le célèbre premier enregistrement des concertos de cinq tous sur l'étiquette de Hungaroton en 2003, a édité les concertos de l'édition originale de Simrock, fournissant des éditions critiques avec ses propres cadences. Les scores et le matériel de performance sont disponibles à la location. / Violoncelle Et Orchestre
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Concerto For Cello And Orchestra #2 C Major Ben104
Cello, Orchestra
Simrock
Cinq concertos violoncelles du Pleyel ont conduit à tort une existence ombre, c...
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Cinq concertos violoncelles du Pleyel ont conduit à tort une existence ombre, comparée à des concertos de contemporains tels que Joseph Haydn. Avec ses contributions indépendantes dans le genre, qui appartient à ses oeuvres intellectuellement plus stimulant, Pleyel a encore une fois impressionne par son imagination et son élégance musical. / Violoncelle Et Orchestre
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Variations On A Rococo Theme For Cello And Orchestra Op. 33 (TCHAIKOVSKI PIOTR ILITCH)
Cello, Orchestra
[Set of Parts]
Eulenburg
Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Un hommage de Tchaïkovski à l'...
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Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Un hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ' dont le thème suit de près le style de musique du XVIIIe siècle exige un maximum d'accomplir et brillance technique de la violoncelliste solo. Les variations sont connectées musicalement par orchestrales ritournelles qui, en matière de musique et de la substance, presque forment une deuxième séquence de variations./ Répertoire / Violoncelle et Orchestre
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5: Concerto For Amplified Cello And Orchestra (WUORINEN CHARLES)
Cello, Orchestra
Peters
Par WUORINEN CHARLES. Amp Violoncellesolo - 2(II=Picc).2.2(II=B-cl).2(II=C Basso...
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Par WUORINEN CHARLES. Amp Violoncellesolo - 2(II=Picc).2.2(II=B-cl).2(II=C Basson) - 4.3.3.1 - Timbales - 2 Percussion - Hp - Strings - Durée: 21 min / Contemporain / Répertoire / Violoncelle et Orchestre
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Concert For Cello And Orchestra #1 A Minor Op. 33
Cello, Orchestra
Eulenburg
/ Violoncelle Et Orchestre
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Suite For Cello And String Orchestra (FISCHER CLARE)
Cello, Orchestra
Advance Music
Par FISCHER CLARE. / Répertoire / Violoncelle et Orchestre à Cordes
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Variations On A Rococo Theme For Cello And Orchestra Op. 33 (TCHAIKOVSKI PIOTR ILITCH)
Cello, Orchestra
Eulenburg
Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Cet hommage de Tchaïkovski à l...
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Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Cet hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ', dont le thème suit de près le style de musique du XVIIIe siècle, exige un maximum d'accomplir et brillance technique de la violoncelliste solo. Les variations sont connectées musicalement par orchestrales ritournelles qui, en matière de musique et de la substance, presque forment une deuxième séquence de variations./ Répertoire / Violoncelle et Orchestre
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Variations On A Rococo Theme For Cello And Orchestra Op. 33
Cello, Orchestra
Eulenburg
Un hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi ...
(+)
Un hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ' dont le thème suit de près le style de musique du XVIIIe siècle exige un maximum d'accomplir et brillance technique de la violoncelliste solo. Les variations sont connectées musicalement par orchestrales ritournelles qui, en matière de musique et de la substance, presque forment une deuxième séquence de variations. / Violoncelle Et Orchestre
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Variations On A Rococo Theme For Cello And Orchestra. Op. 33 (Cw59) . Piano Score. Ed. By W. Fitzenhagen.
Cello, Orchestra
[Sheet music]
P. Jurgenson
/ Violoncelle Et Orchestre / 24 pages / Partition
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Concerto For Cello And Orchestra #5 C Major Ben 108
Cello, Orchestra
Simrock
/ Violoncelle Et Orchestre
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Suite For Cello And String Orchestra (FISCHER CLARE)
Cello, Orchestra
Advance Music
Par FISCHER CLARE. / Répertoire / Violoncelle et Orchestre à Cordes
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Variations On A Rococo Theme For Cello And Orchestra Op. 33 (TCHAIKOVSKI PIOTR ILITCH)
Cello, Orchestra
Eulenburg
Version Of The Cellist Wilhellm Fitzenhagen. Par TCHAIKOVSKI PIOTR ILITCH. Un ho...
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Version Of The Cellist Wilhellm Fitzenhagen. Par TCHAIKOVSKI PIOTR ILITCH. Un hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ', dont le thème suit de près le style de musique du XVIIIe siècle, exige un maximum d'effectuer et de brillance technique de th/ Répertoire / Violoncelle et Orchestre
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Concerto In B Minor For Cello And Orchestra. Piano Score. Ed. By G. Pekker
Cello, Orchestra
[Sheet music]
Muzyka
/ Violoncelle Et Orchestre / 64 pages / Partition
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Concerto For Cello And Orchestra #4 C Major Ben 106
Cello, Orchestra
Simrock
/ Violoncelle Et Orchestre
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Concerto For Cello And Orchestra #1 C Major Ben 101
Cello, Orchestra
Simrock
Cinq concertos violoncelles du Pleyel ont conduit à tort une existence ombre, c...
(+)
Cinq concertos violoncelles du Pleyel ont conduit à tort une existence ombre, comparée à des concertos de contemporains tels que Joseph Haydn. Avec ses contributions indépendantes dans le genre, qui appartient à ses oeuvres intellectuellement plus stimulant, Pleyel a encore une fois impressionne par son imagination et son élégance musical. / Violoncelle Et Orchestre
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