SKU: BR.EB-32083
With supplementary violoncello part marked by Maria Kliegel
ISBN 9790004186299. 9 x 12 inches.
There are many composers about whom it is believed, today, that they composed conservatively, or against the taste of their time. The question is also raised, today, which extract of this large amount of effective and high-quality music, unknown for the most part, should receive our attention; which of it is worth rediscovering or re-editing. Camillo Schumann is one of the most important representatives of these composers, but his works are still largely unknown today. He was born on 10 March 1872 in Konigstein, Saxony. His musical language combines the sound world of Brahms with the grand, late-romantic Liszt School. He wrote piano parts of incredible power and virtuosity, approaching the sounds of Rachmaninoff. His wonderfully individual melodic language makes these works a valuable testimony to a composer who never had his due recognition. The cello sonatas Opp. 59 (EB 32082) and 99 (EB 32083) are the first of three works for this combination. Op. 59 was composed around 1905/06, Op. 99 followed in 1932. Nothing is known so far of the circumstances of the composition of this work, including for whom it was composed. However, it is quite evident that Schumann wrote it, like most of his works, primarily for his own concerts and befriended musicians. The extensive entries in the piano part bear witness to a considerably practical approach. Crossed-out bars, notes added or crossed out in chords as well as a number of revisions of other kinds are more the rule than the exception. The composer's own fingerings written in the piano part also underline this assumption. The present edition contains two solo-parts each. One clean Urtext-part free of any additions from the editor and a second one with bowing marks and fingerings by Maria Kliegel who recorded both sonatas for the first time with the label Naxos. Both sonatas show evident resemblance to the works of this combination by Johannes Brahms and are therefore a must have for ambitious cellists.With supplementary violoncello part marked by Maria Kliegel.
SKU: HL.49019221
ISBN 9790001180672. UPC: 841886018136. 9.0x12.0x0.092 inches.
Georg Goltermann (1824-1898) left a plethora of works for his instrument, including seven cello concertos which still play an important role in the cello literature of today. In addition, he composed a large number of character pieces, including romances, reveries, nocturnes and serenades. Rooted entirely in the romantic spirit of their time with regard to style, they are relatively short pieces of medium difficulty. It is not least due to its melodic and harmonic catchiness that the rather easy Reverie in G minor Op. 92/2 enjoys great popularity both in lessons and in concerts. The expression marking 'Allegro appassionato' refers to the fundamental character of the piece which demands, in particular, an expressive vibrato rich in modulation.
SKU: HL.49018992
ISBN 9790001172417. UPC: 841886015265. 9.0x12.0x0.24 inches.
The pianist, composer, arranger and cabaret artist Peter Ludwig is an all-round talent from Bavaria. He writes film music, chansons, chamber music, piano music, and, above all, beautiful inspired tangos bridging the gap between South America and Europe. Together with the cellist Anja Lechner, he received the award of the German Phono Academy for his CD 'Tango mortale' in the 1980s. Since then, he has not been able to get the tango out of his mind, and today he performs as a pianist of the piano trio 'Tango a trois'. The tangos for violoncello and piano are a valuable addition to the cello repertoire and also perfect for concert performances.
SKU: IS.VCP7132EM
ISBN 9790365071326.
François Glorieux was born in Belgium in 1932, and acclaimed throughout Europe, the USA, Latin America, Canada, Japan, China, the Middle East and Africa. He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. Jobim, and so on.
SKU: HL.51481132
UPC: 840126989656. 9.0x12.0x0.35 inches.
“More than 20 years ago I was called upon by friends, artists, and aficionados to write about fingerings for the violoncello,†then-famous Berlin cellist Jean-Louis Duport thus opens his “Essai†from 1806, dedicated to “Professeurs de Violoncelle.†His methodology revolutionized cello technique, and the 21 etudes printed in its appendix are still regarded today as perhaps the most important set of studies for all budding cellists. Modelled after the volumes of etudes for violin, Henle is also issuing the Urtext here, together with all original fingerings and bowings, while also offering alternatives by the famous cellist and teacher Wolfgang Emanuel Schmidt. This edition also offers a second cello part provided by Duport for accompaniment.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: BR.EB-9426
ISBN 9790004189030. 9 x 12 inches.
Joachim Raff's celebrated first cello concerto is only gradually being rediscovered today. This is astounding, taking into account both the quality of the composition as well as its enthusiastic reception in the past. All renowned cellists of the time performed the work, but the history of op. 193 is still more closely linked to Friedrich Grutzmacher, its commissioner, co-editor, and soloist in its world premiere, than to any other musician. Grutzmachers wish for a concerto to free us poor cellists from our situation that is becoming truly unbearable and driving us to the utmost discontent was certainly fulfilled by Raff.The extensive preface of this first Urtext-Edition documents the close collaboration between composer and interpreter, as well as performance practice of the time. The corresponding piano reduction includes not only an Urtext-solo part, but also a part with the markings by the Zurich cellist Jonas Kreienbuhl. In collaboration with the Joachim-Raff-Archiv Lachen (CH).
SKU: HL.49019267
ISBN 9790001180689. UPC: 841886018143. 9.0x12.0x0.074 inches. Edited with fingerings and bowings by Fritz Zumkley.
Goltermann (1824-1898) left a plethora of works for his instrument, including seven cello concertos which sometimes go to the limitsof what was considered to be technically playable in his time. Even today, these works have maintained their importance throughout the methodological progress in literature. Apart from the concertos, Goltermann also composed a large number of character pieces, including romances, reveries, nocturnes and serenades. Stylistically wholly rooted in the Romantic spirit of their time, the pieces are relatively short and of medium difficulty as regards the technical demands. It is not least due to their melodic and harmonic catchiness that they enjoy a lasting popularity both in music lessons and in domestic concerts.
SKU: BR.EB-32078
ISBN 9790004186633. 9 x 12 inches.
Friedrich Schneider is known today above all for his extensive oeuvre in the area of the oratorio. No less important, however, in addition to his symphonic work, is his group of works for piano and/or chamber music. His cello sonata in F major, with all four movements large in scale, was probably composed in 1831 for the daughter of the Cologne music patron, Dr. Erich Heinrich Verkenius. With its expressiveness, monumental structure, and post-Beethovenian sensuality, this sonata already seriously anticipates Romanticism. Our edition offers two solo parts: an unmarked original text as well as a version with fingerings and bowings by the Leipzig based cellist Jurnjakob Timm.
SKU: HL.50511962
ISBN 9790080128022. A/4 inches. Nicola Porpora; Gyorgy Orban; Arpad Pejtsik.
The source of the present edition is preserved in the Archivio di Stato, Bologna. Editorial principles: In the score, the number of editorial interventions has been kept to a minimum. The original dynamic and expression markings are extremely few and far between, but precise. Only three dynamic levels are specified: forte, dolce ( = piano) and dolce assai ( = pianissimo). As regards expression markings we note the complete absence of the legato sign, though the appoggiatura, staccato, trill and two different types of bow-vibrato (both in association with dolce or dolce assai) can all be found. It is a well known fact that 18th century vibrato, obtained not by a movement of the left hand but rather by a variation in the pressure of the bow, was an expressive effect to be used with discretion and not, as today, a constant means of sound production. Territorial restrictions may apply. Please ask before ordering.
SKU: CA.2100700
ISBN 9790007142179. Language: Latin.
The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version