SKU: BR.EB-10802
The first definitive author's version - In Cooperation with G. Henle Verlag
ISBN 9790201808024. 9.5 x 12 inches.
In the past years, French music has become a focal point of Breitkopf's orchestral library. With Edouard Lalo's popular violoncello concerto, these new editions of French music now bring publishers Breitkopf and G. Henle together once again in another example of their proven cooperation. Peter Jost, an expert on French music who established his claim to expertise through his Debussy, Franck and Saint-Saens editions, ensures a flawless Urtext edition which is based for the first time on the autograph piano reduction. This piano-cello score shows traces of several layers of arrangements, the last two of which were obviously not taken into account in the first edition. The new edition thus offers a wealth of new, authentic readings.A carefully researched text with clear and spacious printing highlights this sympathetic collaboration of two esteemed publishing houses, Breitkopf & Hartel and Henle. (Mary Nemet, Strings).
SKU: BR.OB-16104-19
ISBN 9790004339435. 10 x 12.5 inches.
The publishers Henle and Breitkopf & Hartel are continuing their collaboration, now with Brahms, by publishing the performance material of the double concerto. Brahms's last work with orchestra was published in the new Brahms Complete Edition in 2002, whereby the editor was able to base himself on newly accessible sources. Of particular interest are the additional performance instructions for the solo violin and solo cello, which were gathered from the first edition of the solo parts. These indications were supplied by the soloists of the first performance, Joseph Joachim and Robert Hausmann. No doubt authorized by Brahms, they communicate valuable insights into the performance practice of the time. The new material also contains a part in which the solo violin and cello are notated one above the other. The trio edition for violin, violoncello and piano (EB 6040), which was made by Brahms himself, has proven itself for chamber performances; it continues to be available.The full score is a conductor's dream: big, bold, and beautifully laid out on glare-free bluff paper. (Strings).
SKU: BR.OB-16104-27
ISBN 9790004339459. 10 x 12.5 inches.
SKU: BR.OB-16104-30
ISBN 9790004339466. 10 x 12.5 inches.
SKU: BR.OB-16104-16
ISBN 9790004339428. 10 x 12.5 inches.
SKU: BR.OB-16104-23
ISBN 9790004339442. 10 x 12.5 inches.
SKU: BR.EB-9406
ISBN 9790004188804. 9 x 12 inches.
Raff's Cello Sonata op. 183 appeared in print in late 1873; at a time when Raff's success was at its zenith with Symphonies Nos. 3 and 5 as well as many chamber works. Little is known about the circumstances of its genesis and possible performances. Since Raff did not dedicate this sonata to any distinguished artist, unlike most of his other chamber works, it apparently lacked a drawing card for distribution. While Raff composed several well-known works for violin and piano, the present cello sonata is one of his few outstanding works for cello and piano. Incidentally, in the first edition, the score is headed for piano and cello, as was quite often the case in the 19th century, for instance also with Brahms's sonatas. This is also evident in the music: Cello and piano are equal partners that develop the musical material and are challenged both technically and artistically. This current edition contains an Urtext cello part as well as a part with markings by Claus Kanngiesser. In collaboration with the Joachim-Raff-Archiv Lachen (CH)With a preface by Severin Kolb. Contains 2 cello parts.
SKU: BR.EB-9391
ISBN 9790004188651. 9 x 12 inches.
Jean Sibelius composed far less music for the cello than for the violin. Malinconia (op. 20) - published in 1911 but composed in 1900 under the title Fantasia - remained his only opus-numbered work exclusively for cello and piano. The Fantasia for cello and piano, an early stage of Malinconia , was premiered at a soiree in the Solemnity Hall of the University of Helsinki on 12 March 1900 and was given positive press reviews: The work, which mainly drew attention with its logical and clear structure, begins with a powerful and substantial cello solo, to which the piano responds with a glimmering series of arpeggiated chords. At the end where the instruments unite in a harmonious, deeply emotional song, the harmonic impression they create is very bright and lovely. The autograph manuscript of Fantasia shows that Sibelius omitted a larger passage of music between the present bars 24 and 25 and that he made further revisions to the work, either before the publishing process or in the proofs he read in April 1911 for Breitkopf.
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: BR.CB-215
ISBN 9790001157223. 9 x 12 inches.
The triumphal concert hall success of Tchaikovsky's most popular and musically most valuable concert pieces for solo instrument and orchestra was preceded by severe teething troubles. His Piano Concerto No. 1 Op. 23 of 1874/75 was slated by Tchaikovsky's mentor and potential performer at the premiere, the pianist, conductor and director of the Moscow Conservatory, Nikolai Rubinstein. So Hans von Bulow premiered it gratefully and enthusiastically (in Boston, USA, on 25 October 1875). Leopold Auer, violin virtuoso and professor at the Petersburg Conservatory, to whom Tchaikovsky wanted to dedicate his Violin Concerto Op. 35 of 1878, refused to premiere it - he regarded the solo part as unrewarding and unplayable. On 4 December 1881, Adolf Brodsky premiered the Violin Concerto in Vienna, with Hans Richter conducting, but Eduard Hanslick wrote a crushing and unpleasant review. The Variations on a Rococo Theme for Cello and Orchestra Op. 33 were finally published by their dedicatee, the German cellist and professor at the Moscow Conservatory, Wilhelm Fitzenhagen, after he had almost completely rewritten and then premiered it on 18 December 1877 in Moscow, while Tchaikovsky, who had asked him to publish the work, was abroad. The original version, which can be found in this edition, was not published until the 1950s.
SKU: BR.EB-8884
Pieces for young (at heart) cellists
ISBN 9790004184745. 9 x 12 inches. German / English.
Graham Waterhouse created a little series of lovely melodies for his son, which he then successfully performed at violoncello competitions. The eight pieces can be played alone, as well as in a suite with a random sequence. The majority are dances with rhythmical characteristics that are intended to challenge the young string players. This also applies to the expanded performance techniques that are introduced and occasionally used here. The level of difficulty ranges from the first position in Montague's March up to the fourth position in Henry Hornpipe, the most difficult piece in the cycle. Originally conceived for solo voice and piano, this edition also contains an alternative version for two violoncelli.Pieces for young (at heart) cellists.
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: 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: BR.EB-32072
For Sonata No. 1 in D major Op. 6 please click here.
ISBN 9790004186619. 9 x 12 inches.
Eduard Franck's two Violoncello Sonatas opp. 6 and 42 were published in 1843 and 1882, respectively, thus, almost 40 years apart. Although no authentic manuscripts sources are extant, the sonatas were likely composed fairly close to the years of their publication. That for decades Eduard Franck was reluctant to publish some of his works is well known; this then led him, only a few years before his death, to pour out a cornucopia of new compositions, some of them composed decades earlier. With this new edition of the two sonatas we are offering an important addition to the field of romantic cello sonatas.
SKU: BR.EB-8298
ISBN 9790004176139. 9 x 12 inches.
The cello sonata stands between a conservative return to classical forms and the full development of Mendelssohnian characteristics in the late work, which ultimately led to the abandonment of the sonata form. Violoncello part arranged by Michael Denhoff.
SKU: BR.MN-12031
ISBN 9790004791547. 8.5 x 12 inches.
Die Musik Meinrad Schutters (*1910) ist gekennzeichnet durch Transparenz und konzentrierte Dichte; Anliegen ist die Klangfarbe, das Aushoren eines Akkords. Pragnante Rhythmik, Expressivitat, ein tanzerischer Impetus sowie die Neigung des Komponisten zu Humor und Ironie fuhren zu besonderer Eigenwilligkeit der Tonsprache.
SKU: BR.OB-5283-15
ISBN 9790004332832. 10 x 12.5 inches.
Robert Schumann's Violoncello Concerto op. 129 can be regarded as the first great concerto for this instrument's repertoire. It is thus somewhat surprising that this work had an extremely problematic reception history at the outset.Schumann wrote the score in 1850, during his Dusseldorf years, but there was neither a concrete occasion nor a soloist for a world premiere. After its publication, more years elapsed before the world premiere. It was only towards the end of the 19th century that Schumann's Cello Concerto finally made its breakthrough as a repertoire piece. The Urtext edition is based on the original print of the parts and the piano reduction, which had still been supervised by Schumann. In addition, the autograph of the score was consulted for purposes of comparison. The internationally renowned soloist Heinrich Schiff took part in the preparation of the edition for violoncello and piano. His experiences have been incorporated into his arrangement of the solo part. With his comments, Schiff also provides valuable tips on the interpretation of the work.A key work of the romantic concerto repertoireThe piano reduction by Robert Schumann contains the unsigned solo part as well as the solo part arranged and annotated by Heinrich Schiff.
SKU: BR.OB-5283-19
ISBN 9790004332856. 10 x 12.5 inches.
SKU: BR.OB-5283-23
ISBN 9790004332863. 10 x 12.5 inches.
SKU: BR.OB-5283-30
ISBN 9790004332887. 10 x 12.5 inches.
SKU: BR.OB-5283-16
ISBN 9790004332849. 10 x 12.5 inches.
SKU: BR.OB-5283-27
ISBN 9790004332870. 10 x 12.5 inches.
SKU: BR.EB-6707
World premiere: Saarbrucken, December 18, 1972
ISBN 9790004169100. 9 x 12 inches.
World premiere: Saarbrucken, December 18, 1972.
SKU: BR.EB-5566
ISBN 9790004164433. 9 x 12 inches.
It is considered a milestone in the repertoire for bass clarinet: Othmar Schoeck's Sonata op. 41, composed in 1927/28 for the Swiss music patron and amateur clarinetist Werner Reinhart. In the tension area between late Romanticism and currents of New Music of the 1920s, Schoeck created a work of fascinating colorfulness, which even has jazz elements flashing up in the finale. This classic work is one of the most exciting, boldest instrumental works by the important song and opera composer. CD: Renate Rusche (bass clarinet), Werner Hagen (piano) Sc 63072.
SKU: BR.EB-6438
ISBN 9790004167076. 9 x 12 inches.
SKU: BR.EB-7430
ISBN 9790004173947. 9 x 12 inches.
Thanks to the increasing concern for historically accurate interpretations of early music, the viola da gamba once again belongs to the more frequently played Instruments. This new edition makes the work accessible again to its original solo Instrument.
SKU: BR.EB-8332
ISBN 9790004176405. 9 x 12 inches.
SKU: BR.BG-1061
ISBN 9790004121627. 9 x 12 inches.
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