Original Version. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered
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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
Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower ...(+)
Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character.
One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate...
The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him.
The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London.
Gavin Bryars/ Répertoire / Violoncelle et Orchestre
William Walton Edition. Par WALTON WILLIAM. This edition of Walton's Cello Conce...(+)
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 VINE CARL. Composed for Steven Isserlis in 2004, Carl Vine's Cello Concerto ...(+)
Par VINE CARL. Composed for Steven Isserlis in 2004, Carl Vine's Cello Concerto is an exhilarating 20-minute work that traverses a vast emotional palette. The Concerto begins arrestingly, with soloist pitted against orchestra, though as it develops the two factions move towards union. A slow chorale led by the cellist frames the central section, whilst relentless motor rhythms drive the work to its close./ Répertoire / Violoncelle et Orchestre
Like every other great 19th-century solo concerto Dvorák?s famous Cello Concer...(+)
Like every other great 19th-century solo concerto Dvorák?s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák?s autograph score were actually written by the cellist Hanu? Wihan; but Bärenreiter?s edition now reveals that some details in the Orchestral parts are also in his writing showing just how closely the two musicians were working together.The editor Jonathan Del Mar has painstakingly examined all the surviving sources including two that have hitherto been either ignored or crucially undervalued in order to produce anauthoritative edition which restores for the first time since the original edition was published in 1896 - Dvorák?s final and definitive version of the solo Cello part. This differs in details in almost every bar from the version found in all other modern editions while hundreds of corrections have also been made to the Orchestral parts.- With Dvorák?s final and definitive version of the solo Cello part.- With hundreds of corrections in the solo Cello part as well as the Orchestral parts.- With hitherto unknown details regarding the collaboration between Dvorák and Wihan.- With Dvorák?s original Piano reduction.- With Feuermann's and Casals' alternatives to a passage in the first movement.- Full score performance material (BA9045) Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale.
Henri Dutilleux (1916-2013) was greatly influenced by his contemporaries Ravel ...(+)
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) Énigme (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.
Per Violoncello e Orchestra-The Cello Concerto No. 2 is Nino Rota's third contri...(+)
Per Violoncello e Orchestra-The Cello Concerto No. 2 is Nino Rota's third contribution to the genre but he does not include the early Cello Concerto dating back to 1925 in his own list of works: this composition only received its very much delayed first performance in Milan in November 2010. The much later Cello Concerto No. 2 was created around the same time as Rota???s work on the soundtrack for The Godfather II for which the composer received an Oscar in 1975. Although there are no direct quotations from the film-track in this concerto the section in 6/8-time displays a slight hint of the well-known Sicilian Pastorale.
e minor-Edward Elgar's concerto for violoncello his last major work is a clean...(+)
e minor-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 reference edition for everycellist!First ever critical editionAll existing sources consultedFirst ever critical commentary'I highly recommended this purchase even if you own a well-worn copy of another edition.'(American String Teacher vol. 56 No. 3 August 2006)'Ownership of this fine masterly authoritative and elegantly printed edition coupled with the fascinating Critical Commentary must be obligatory for all cellists!'(ESTA News and Views Autumn 2006)
Remarkably for a work by Philip Glass the Cello Concerto No 1 or Concerto For ...(+)
Remarkably for a work by Philip Glass the Cello Concerto No 1 or Concerto For Cello And Orchestra conforms broadly to the three-movement form of classic concerti with fast-slow-fast tempi.This concerto is designated as part ofThe Concerto Project recording series started by Glass in the year 2000 currently in four volumes and including eight concerti.American composer Philip Glass is widely known as one of the most celebrated influential and prolificof the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.’ His operas among them the renowned Einstein On The Beach are performedacross the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip Glass Ensemble.
In Latin Anima means soul but it is also a Jungian expression for the female ele...(+)
In Latin Anima means soul but it is also a Jungian expression for the female element of the male. Anima forms the first part of a nameless trilogy of solo concertos which emphasizes reflective moods. In this cello concerto it is mainly the melodic aspect that is in the foreground a bitter-sweet but always gentle song for cello.
Cello Concerto No. 1-Poul Ruders Polydrama (Manyfold Event) for cello and orches...(+)
Cello Concerto No. 1-Poul Ruders Polydrama (Manyfold Event) for cello and orchestra is the last part of a drama trilogy otherwise consisting of Dramaphonia' for piano and 11 instruments and Monodrama for percussion and 32 instruments. In this abstract drama the individual listener is left entirely to his own associations. The composer has compared polydrama with the gradual defoliation of a big tree: the vigorously growing organism is attacked by a swarm of locusts until finally nothing remains but bare branches in a landscape of long shadows; a solitary singing bird remains however like a streak of hope in an increasingly dark and pessimistic universe.
Between - Cello Concerto No. 1 - 3 movements for Violoncello and Orchestra comp...(+)
Between - Cello Concerto No. 1 - 3 movements for Violoncello and Orchestra composed by Per Nørgård in 1984-85. Premiered by Frances-Marie Uitti and the Danish Radio Symphony Orchestra conducted by Michael Schönwandt August 30th 1985. Programme note: 1. In Between 2. Turning point 3. Among The title of each movement suggests one aspect of the relationship between soloist and orchestra. In the first movement the solist is caught up in a conflict between the expression of inner feelings (solo) and influences from external sources (orchestra) the latter of which the soloist in a simple accompanyingrole but after a turning point in the middle of the movement the soloist assumes a dominating role. In the final movement a balance is finally achieved with the soloist at last being on equal terms with the orchestra. Per Nørgård
Cello Concerto was composed by Thomas Agerfeldt Olesen in 2015 (rev. 2017) - 'To...(+)
Cello Concerto was composed by Thomas Agerfeldt Olesen in 2015 (rev. 2017) - 'To the memory of my mother'. Written to Nicolas Altstaedt on commission from Aarhus Symfoniorkester and Die Duisburger Philharmoniker with support from The Danish Arts Foundation First perfomance in Århus Sept 24 2015. Programme note: This concerto contains a lot of technical and structural stuff that I have forgotten all about now. Without it though the piece would have been a big mess of emotions since it was written while my family and I were taking care of my mother as she was terminally ill. I recognize ithaving become a kind of rondo. The music wanted a place to return to and perhaps it is due to the fact that my mother was always someone I could return to when everything else was exploding. In the end the rondo dies and the music goes somewhere else like all mothers.
Par SCULTHORPE PETER. Written in 1998, Peter Sculthorpe's calm work draws its in...(+)
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
Tenebrae (1982) a single-movement cello concerto commissioned and premiered by...(+)
Tenebrae (1982) a single-movement cello concerto commissioned and premiered by Rostropovich who praised the composer for his fine understanding and command of the rich timbre of the instrument. It is a convincing and almost nightmarish work containing music which leaves a tremendous impact on the listener. Not least in the central section where ghastly and terrifying apparitions are invoked out of the darkness. The final poetical section of the work is directly inspired by the description of the closing movement of Leverkühn?s Cantata in Thomas Mann?s Doktor Faustus.