Original Version. Par SCHUMANN ROBERT. 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 Jagiellonska 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 Jagiellonska 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.'/ Répertoire / Violoncelle et Orchestre

William Walton Edition. Par WALTON WILLIAM. This edition of Walton's Cello Concerto combines the scholarship of the Wiliam Walton Edition with the practical benefits of a study score, including an introduction by the editor. Written 1956, the work was commissioned by Gregor Piatigorsky and premiered by him the following year. Walton regarded this work as the best of his three solo concertos. / Niveau : Très Avancé / Répertoire / Violoncelle et Orchestre

Par SCULTHORPE PETER. Written in 1998, Peter Sculthorpe's calm work draws its inspiration from his own environmental concerns for Northern Australia's so-called 'Top End'. There, along the coastline, Aboriginal and Torres Strait Island cultures mingle with those of Melanesia and Indonesia. Cello Dreaming reflects this plurality. / Niveau : Assez Facile / Répertoire / Conducteur

Reduction Pour Violoncelle et Piano Par L'Auteur. Par SAINT-SAENS CAMILLE. Authoritative Urtext edition of Camille Saint-Saens' Premier Concerto Op. 33 based on the original score. This version for Cello has a Piano reduction of the orchestral material by the composer./ Répertoire / Violoncelle et Orchestre ou Violoncelle et Piano

Par SAUGUET HENRI. Henri Sauguet's Mélodie Concertante for Cello and Orchestra. Henri Sauguet's Mélodie Concertante for Cello and Orchestra. / Classique / Répertoire / Violoncelle et Orchestre

Par ELGAR EDWARD. Edward Elgar’s concerto for violoncello, his last major work, is a cleanly structured and emotionally charged composition. It is no wonder that this work is of central importance in the cello literature. Jonathan Del Mar’s editorial skills show themselves in the exacting placement of dynamics, articulation and expression markings. The edition restores all Elgar’s solo cello fingerings and bowings and offers a facsimile of the original solo cello part in the critical commentary. Jonathan Del Mar also documents the performing tradition of the work and its recording under Elgar’s baton. This is the last word on this famous work, a referenceedition for every cellist! First ever critical edition All existing sources consulted First ever critical commentary Full score & parts (BA9040), cello & piano (BA9040-90) and study score format 22. 5 x 16. 5cm (TP398) available for sale/ Répertoire / Violoncelle et Orchestre

Par DUTILLEUX HENRI. Henri Dutilleux (1916-2013) was greatly influenced by his contemporaries, Ravel, Debussy and Roussel, yet implemented his own, unique style. His Cello Concerto, Tout Un Monde Lontain is considered to be one of the most important 20th century additions to the instrument's repertoire. This Dutilleux Concerto comprises five movements which run seamlessly in to one-another, each inspired by the poetry of Charles Baudelaire. The movements are: 1) Enigme (Enigma), 2) Regard (Gaze), 3) Houles (Surges), 4) Miroirs (Mirrors), and 5) Hymne (Hymn). Tout Un Monde Lontain was first performed in July 1970 by Russiancellist, Mstislav Rostropovich with the Orchestre de Paris. Dutilleux 's Tout Un Monde Lontain remains popular to this day, and including the entire orchestral score, this edition is essential to the advanced cellist's repertoire./ Répertoire / Violoncelle et Orchestre

Par KABALEVSKY DIMITRI. Cello, Piano. Kabalevsky, D/ Répertoire / Violoncelle et Orchestre

Par ELGAR EDWARD. The Barenreiter Facsimile seal is used exclusively for facsimile publications that meet the highest technical and scholarly demands. The distinguishing features include A facsimile in high resolution full-colour printing, reflecting the original Specially selected paper Decorative binding in keeping with the historic theme Individually trimmed pages, as far as the edition allows A commentary by internationally renowned scholars Facsimile of the autograph in the Royal College of Music, London With an introduction by Jonathan Del Marand a preface by Stephen Isserlis (English/German)/ Répertoire / Violoncelle et Orchestre

Par HAYDN FRANZ JOSEF. Editeur(s) d'origine: Klug, Chr/ Répertoire / Violoncelle et Orchestre