SKU: BA.BA05278
ISBN 9790006569625. 32.5 x 25.5 cm inches. Preface: Talle, Andrew.
When we think of the cello, we automatically think of Bach’s immortal cello suites. They are the very core of cello literature, their timeless beauty accompanying cellists from their student years throughout the height of their professional careers.Considering the works’ significance, the great number of editions in existence is not surprising. However, the composer’s autograph has not been preserved and is considered lost. This circumstance creates an exceptional challenge many editors faced over the years. The four autograph sources still in existence and the first print from 1824 show numerous small deviations, especially in terms of articulation markings and phrasing.In this two-volume edition of Bach’s cello suites, Andrew Talle now presents an entirely new view of the relationships between existing sources. The first volume contains the edited musical text, which comes as close to the composer’s original intention as the surviving source material allows: “This edition does not constitute a perfect reconstruction of the lost autograph; that is something no editor could claim to accomplish. Instead, I have attempted to supply musicians and researchers with a reliable version of the surviving musical text of the six cello suites, and to convey a sense of the many possibilities Bach encouraged his musicians to explore.â€The second volume presents, for the first time, synoptically arranged facsimiles of the handwritten sources as well as the first print (with Suite No. V also including Bach’s own arrangement for lute), allowing readers to compare any specific section in all sources at one glance. This allows for a straightforward and immediate consideration of all sources, making editorial decisions transparent and self-evident.Andrew Talle’s edition is supplemented by a comprehensive discussion of the instrument for which the suites were created, as well as information regarding musical interpretation during Bach’s time.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA05277
ISBN 9790006569618. 32.5 x 25.5 cm inches.
The suites are the very core of cello literature, with their timeless beauty accompanying cellists from their student years throughout the height of their professional careers.Considering the worksâ?? significance, the great number of editions in existence is not surprising. However, the composerâ??s autograph has not been preserved and is considered lost. This circumstance creates an exceptional challenge many editors faced over the years. The four autograph sources still in existence and the first print from 1824 show numerous small deviations, especially in terms of articulation markings and phrasing.This facsimile edition is the first to juxtapose all four autograph sources as well as the first print (along with Bachâ??s own arrangement of Suite No. V for lute). For the first time, readers can compare a specific section in all sources at one glance. This allows for a straightforward and immediate consideration of all sources.
SKU: BA.BA11071
ISBN 9790006562015. 42 x 29.7 cm inches.
“Now II†is the second part of a triptych of chamber pieces entitled “Profiles of Lightâ€. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013).All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities.This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.
SKU: HL.48025250
UPC: 196288142942.
The composer and conductor Oliver Knussen (1952 - 2018) was loved by many companions for his generosity and musical intellect. To Detlev Glanert, whose works he loved to perform, he was a friend and one of his 'personal heroes'. By his own admission, he learned attention to detail from 'Olly', with whom he worked at Tanglewood as early as 1986. If Glanert's Trumpet Concerto, composed in 2018, is the large-scale symphonic homage to his role model, the solo “Little Letter to Olly†does the same in a small format. Two elegiac adagio sections frame a boisterous presto with all kinds of virtuoso tricks. The 'Letter without Words' owes its existence to a suggestion by the cellist Anssi Karttunen, who asked for commemorative pieces for Knussen's 70th birthday from a number of composers and premiered them at the Aldeburgh Festival 2022.
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