SKU: HL.48025289
ISBN 9783793144267. UPC: 196288172130. 9.0x12.0x0.045 inches.
I am Cello is one of several solo pieces by means of which the Australian-based composer remained in contact with her interpreters all over the world during the time of the coronavirus pandemic, composing and communicating via video and streaming. It was written for the cellist Benedict Kloeckner and produced by him at the SWR Studio Kaiserslautern in autumn 2020 and released on CD by Brilliant Classics the following year. The requirement to write something short to be played between the Bach Solo Suites alongside the music of other composers quickly gave rise to the idea of a piece that “is almost a song and tells almost a story. It is also almost a waltz, but a slow one. I see this piece like a flower bulb that opens up over the course of 2-3 minutes,†says Elena Kats-Chernin.
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: HL.14028929
Written for Moray Welsh whilst still an undergraduate at York University. This piece was completed in mid-September. Inspired by Hermann Hesse's Steppenwolf. A solo 'cello seemed an appropriate medium for music which might explore the character of Harry Haller, with his desire for bourgeois comfort and his strong misanthropic and suicidal tendencies. The opening theme attempts to express this - melancholy, nostalgic, a bit Biedermeyer (cf. Brahms Intermezzi). The basic theme of the book, at its simplest, is that every human personality consists of hundred of different personalities - within every man there lurks a wolf. Accordingly the tendency of my piece is for all its musical material to become distorted, either by thematic transformation or by changes of timbre. There are three movements played without a break. The first is a character portrait of the Steppenwolf. The second is concerned in the most general sort of way with the dance elements in the novel - Harry's being taught to dance and appreciate low 'popular' music - a tango is recapitulated in a waltz and 'Yearning', a popular song of the time (1927) is hinted at. The third movement concerns the Masked Ball and the Magic Theatre. Mozart is one of Hesse's great loves and he is repeatedly mentioned in the book. Inevitably some Mozart quotes have been worked in, the most significant being a reference to The Magic Flute 'fire and water' flute theme in the middle of the second movement. Long before I finished the piece, I was disenchanted with the work of Hesse. Much of Steppenwolf I now find rather embarrassing and the claims currently made for Hesse's greatness seem to me exaggerated. Since my piece is in no important sense programmatically specific, this change of heart doesn't really matter. ~ David Blake.
SKU: BO.B.3726
Written in 2001, this work was conceived by the need to enlarge the repertoire of works for solo cello, an important goal since the repertoire of such works is limited. Most cellists are limited to performances of such well-known solo works as the Suites of Bach, written almost 300 years ago, as well as other classics of the genre by Max Reger, Zoltan Kodaly, Benjamin Britten, Gaspar Cassado, Enric Casals, etc.The intention of the Suite Exotique is to revolutionize the concept of the Baroque suite by transforming the suite into a collection of modern dances, which are both contemporary and widely recognized today. Thus, the dances of the Baroque suite, such as Allemande, Courante, Sarabande are substituted for the Tango, Milonga, Blues in such a way that the traditional formal structure of six movements of Baroque dances is modernized by rhythms and contemporary styles which coexist in the Modern world, but are separate from and do not pertain to those works which are normally considered to belong to the realm of cultured music.Apart from the fusion represented by the mixture of a Baroque genre with modern, urban musical language found in this work, the subtitle exotica is appropriate due to the originality of writing such a work for cello solo. This work allows the interpreter to explore and take full advantage of their technical, artistic and expressive abilities.This work establishes a total symbiosis between the instrument and the evolutionary transformation of its musical language which in turn creates a style adapted to the expressive requirements of the work itself. The specific techniques and qualities of the cello are placed in service of the required style and concept of each movement of the Suite. At the same time those stylistic characteristics are transformed and adapted to the particular characteristics of the cello and taking full advantage of the instruments polyphonic, sonic, aesthetic qualities as well as its timbre.The Suite Exotique was premiered in August, 2003 during the International Music Festival of Ibiza by the Russian cellist Svetlana Tovstukha.
SKU: BA.BA11043
ISBN 9790006543229. 33.5 x 25.5 cm inches.
Manfred Trojahn on the origin and title of his impressive virtuoso solo work:Admittedly I do not know if he had seagulls, but since Mendelssohn was born in Hamburg, he will not have gone through life without at least the impression of the cry of seagulls. Nor do I know if seagulls played any part in his life in Rome. I myself was astonished when, one or two years ago in the Villa Massimo, I was, not exactly annoyed but disturbed by the strong rhythmical cry of seagulls. I was just about to write a bassoon solo when the seagulls started. Then the idea came to me that precisely this sequence of notes could serve as the basis of the work. And the sequence for the bassoon solo is, in turn, the basis of the piece for violoncello - this is how titles are born... Of course the violoncello meanders with virtuosic ease from the seagull motif to the 'elf-like' skittering brought to music by Mendelssohn and used time and again in his compositions, finally becoming a cabaletta. Now, cabalettas are not very representative of Mendelssohn, but as I was composing I definitely wanted to put a cabaletta in this passage. I am sure Mendelssohn and I will easily agree on this, especially since later justice is done to him in the rapid passages and, of course in the tonal cadenza at the very end, which is more indicative of his time than of mine ... isn't it?
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