'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Violoncelle

Jean-Louis Duport
21 Études pour violoncelle
Norbert Gertsch (Editeur)
Wolfgang Emanuel Schmidt (Doigtés, Conseil)
Edition Urtext, reliure paperback
avec une seconde partie de violoncelle d'accompagnement originale
«Voilà plus de 20 ans que des amis, des artistes et des amateurs me demandent de composer un traité sur les doigtés de violoncelle» - c’est ainsi que le violoncelliste berlinois Jean-Louis Duport, célèbre en son temps, débute son «Essai» paru en 1806 et dédié aux «Professeurs de Violoncelle». Cette méthode révolutionna la technique du violoncelle, et les 21 Études imprimées dans son Annexe sont aujourd’hui considérées comme l’œuvre pédagogique la plus importante de tout futur violoncelliste. Sur le modèle des études pour le violon, Henle propose ici aussi la partition Urtext accompagnée de toutes les indications originales de doigtés et de coups d’archet et offre, en plus, des alternatives dues à la plume du célèbre violoncelliste et pédagogue Wolfgang Emanuel Schmidt. L’édition contient en outre une seconde voix d’accompagnement prévue par Duport. / Méthodes et pédagogie / Cordes / Violoncelle / HENLE VERLAG

avec une seconde partie de violoncelle d'accompagnement originale. Par DUPORT JEAN-LOUIS. «Voilà plus de 20 ans que des amis, des artistes et des amateurs me demandent de composer un traité sur les doigtés de violoncelle» - c’est ainsi que le violoncelliste berlinois Jean-Louis Duport, célèbre en son temps, débute son «Essai» paru en 1806 et dédié aux «Professeurs de Violoncelle». Cette méthode révolutionna la technique du violoncelle, et les 21 Études imprimées dans son Annexe sont aujourd’hui considérées comme l’œuvre pédagogique la plus importante de tout futur violoncelliste. Sur le modèle des études pour le violon, Henle propose ici aussi la partition Urtext accompagnée de toutes les indications originales de doigtés et de coups d’archet et offre, en plus, des alternatives dues à la plume du célèbre violoncelliste et pédagogue Wolfgang Emanuel Schmidt. L’édition contient en outre une seconde voix d’accompagnement prévue par Duport./ Répertoire / Violoncelle

Bwv 1007-1012. Par BACH JOHANN SEBASTIAN. Urtext edition with articulation markings - Soft-cover performing edition When you think cello, you think of Bach?s immortal cello suites. The suites take centre stage in the cello literature. They are timeless and beautiful and accompany cellists from their student years up through their professional career at the highest level. Appropriately and not surprisingly there are countless editions of the suites. But the composer?s autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details, the articulation andphrasing being particularly ambiguous. At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed to the cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike. This new edition, based on volume 4 of the New Bach Edition ? Revised (NBArev), now completes Bärenreiter?s collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day. The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority of the sources. ?This edition does not present a perfect reconstruction of the lost autograph; no editor could claim to do so. Instead, I have attempted to provide musicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer. ? - Urtext edition with articulation by the editor on the basis of intensive source comparison - Musical text identical/ Répertoire / Violoncelle

Urtext edition with articulation markings - Soft-cover performing editionWhen you think cello, you think of Bach's immortal cello suites.The suites take centre stage in the cello literature. They are timeless and beautiful and accompany cellists from their student years up through their professional career at the highest level. Appropriately and not surprisingly there are countless editions of the suites. But the composer's autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details, the articulation and phrasing being particularly ambiguous.At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed to the cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike.This new edition, based on volume 4 of the New Bach Edition - Revised (NBArev), now completes Bärenreiter's collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day.The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority of the sources. 'This edition does not present a perfect reconstruction of the lost autograph - no editor could claim to do so. Instead, I have attempted to provide musicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer.?- Urtext edition with articulation by the editor on the basis of intensive source comparison- Musical text identical to the text in New Bach Edition - Revised Volume 4, Book 1- Detailed introduction (Ger/Eng) / Violoncelle

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violoncelle

Par DOBBINS JAN. Livre 1 (disponible pour violon, alto et violoncelle) comprend un CD avec des spectacles de toutes les pièces et les exercices avec accompagnements de piano et un certain soutien supplémentaire. Jan Dobbins a été conseiller musical et de l'ancien chef d'un service LEA musique instrumentale. Maintenant, elle partage son temps entre la prestation des cours de perfectionnement professionnel, l'enseignement à cordes, en explorant la musique avec des enfants âgés de 3-11, composer de la musique instrumentale et à écrire des chansons. / Niveau : Très Facile / Recueil / Violoncelle

Max Reger composed his Three Suites for Violoncello solo in 1914/15 for three important cellists and teachers of the time: Julius Klengel, Hugo Becker and Paul Grümmer. Klengel was also friends with the composer. Reger humorously told him of his Opus 131c in summer 1915, calling them 'strapping triplets?. He asked the cellist to 'use these three things as often as possible in your lessons?, although they presuppose a great degree of skill on the students' part. For all those who wish to conquer these works in theory, we are now also offering our Urtext edition of the Suites (HN 478) as a study score. / Violoncelle

Par BUNTING CHRISTOPHER. Warming up and keeping one?s basic technique in peak condition, (or working to get to peak condition) is fundamentally important, yet many cellists do not have routine exercises to follow. This book, the second of a two volume set, which complements book 1, provides the exercises that every cellist needs, for both the left and right hands: bow off the string; right arm choreography; shifting; winter skating; various portamenti; fives; string crossing; octaves; resilience exercises; double-stopping ritual; pizzicato; a few spiccati; bow control ? accents. Christopher Bunting (1924-2005), the cellist and composer, gave concerts, broadcasts and masterclasses throughout Europe, Australasia and the United States. The Daily Telegraph described him as ?a master?. Die Welt remarked on his ?highly developed musical comprehension, prodigious technique and outstanding artistry?, and the Swedish press called him ?one of the greatest instrumentalists of today?. He thought deeply about the psychological and physical influences that lie behind technique./ Etude / Violoncelle

Par PIATTI ALFREDO. The third part of a comprehensive and renowned Cello method by nineteenth century composer, educator and musican Alfredo Piatti. Book Three of this in-depth classic method contains further ornamentation, double stops, staccato, harmonics and more./ Méthode / Violoncelle

Par PIATTI ALFREDO. The first part of the comprehensive and renowned Method For Cello by nineteenth century composer, educator and celebrated cellist Alfredo Piatti. An extremely popular tutor, Piatti takes the student through the early stages of playing technique & such as the open strings, first position and bowings & up to exercises in the fifth, sixth and seventh positions (in the Tenor Clef). Arpeggios and scales are also included throughout to train the hands, fingers and wrists, in order for the right technique to become ingrained. Whenever a new concept or technique is introduced Piatti provides a detailed explanation of it, sothat no prior Cello experience is required. However, a basic knowledge of music theory is assumed, the student is expected to be familiar with the notes of the bass clef, note lengths, key and time signatures etc./ Méthode / Violoncelle

Book with Audio and Video Access. Preface by Jay Ungar, composer of Ashokan Farewell. A Festival of Violin and Fiddle Styles presents 23 styles and is chock full of right- and left-hand techniques, exercises, and advice designed to help violinists, violists and cellists step into inclusive, 21st century skills as well as repertoire. This jam-packed book includes tips from an incredible array of multi-genre and roots-specific players including: Jay Ungar, Bruce Molsky, Darol Anger, Mark Wood, Aly Bain, Roby Lakatos, Don Roy, Calvin Vollrath, Paul Anastasio, and more. Styles include old-time, bluegrass, Cajun, Franco-American, western swing, blues, swing, pop/rock, Irish, Scottish, Shetland Islands, Cape Breton,Hungarian, Ukrainian, Klezmer, Roma, Calentano, Galician, Afro-Cuban, tango, Swedish, Bollywood, Quebecois, and Metis. Online audio includes playing examples of all the fiddle tunes in the book, followed by background music so you can continue to play on your own. Videos include expert instruction on fiddle techniques like bowing, slurs, slides, vibrato, and ornamentation. / Pédagogie / Recueil / Violoncelle

Par VAUGHAN WILLIAMS RALPH. Arranged by the composer. The piano accompaniment is purchased separately (Ref. H47)./ Etude / Violoncelle

Par BACH JOHANN SEBASTIAN. 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.”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./ Répertoire / Violoncelle