Cello and orchestra

SKU: BR.PB-5509

Urtext. Composed by Carl Philipp Emanuel Bach. Edited by Ulrich Leisinger. Orchestra; stapled. Partitur-Bibliothek (Score Library).

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

Solo concerto; Early classical. Full score. 52 pages. Duration 27'. Breitkopf and Haertel #PB 5509. Published by Breitkopf and Haertel (BR.PB-5509).

ISBN 9790004211694. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

Cello and Orchestra

SKU: BT.EMBZ14893

Composed by László Dubrovay. EMB Contemporary Music. Contemporary Music. Book Only. Composed 2016. 68 pages. Editio Musica Budapest #EMBZ14893. Published by Editio Musica Budapest (BT.EMBZ14893).

The concerto was inspired by István Várdai's play and is dedicated to him. The triple movement structure and the character of the movements follow the patterns of classical concertos, while the thematic connections spanning the movements rather reflect the structural principles of Romantic symphonies. In the first movement, which resembles the form of a sonata, the characters of the themes are spectacularly separated. The motif of the main theme, constructed with glissandos, is supplemented by a theme the composer refers to as a motif of fate, and the two together form a significant contrast with the minor theme with its lyrical tone and the playful, ending themeresembling a children's song. The contrasts between depth and height, as well as darkness and light, have a significant role in all three movements. The music of the first movement gradually rises to increasingly bright and higher regions, the gloomy atmosphere of the marginal parts in the second movement is offset by the tune's transcendental light in its central part, while the rondo theme of the third movement with its 6/8 metre dance-like character is supplemented with motifs of a contrasting nature from the earlier movements.

Cello and Orchestra

SKU: HL.14028003

Cello Concerto No. 1. Composed by Poul Ruders. Music Sales America. Classical. Score. Composed 2002. Edition Wilhelm Hansen #WH30292. Published by Edition Wilhelm Hansen (HL.14028003).

ISBN 9788759862896.

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.

Violin and orchestra (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.PB-15132

Urtext. Composed by Max Bruch. Edited by Michael Kube. Orchestra; stapled. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle Verlag. Solo concerto; Romantic; Late-romantic. Full score. 84 pages. Duration 25'. Breitkopf and Haertel #PB 15132. Published by Breitkopf and Haertel (BR.PB-15132).

ISBN 9790004214688. 10 x 12.5 inches.

Bruch's evergreen for the first time in UrtextThanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto no. 1 zipped onto the road to success and has never left it since. Yet from the preface of the BreitkopfUrtext edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote 3, 4 development sections in the finale, and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: Have I written nothing but this one concerto?The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work.

Violin and orchestra (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.PB-15133-07

Urtext. Composed by Max Bruch. Edited by Michael Kube. Orchestra; stapled. Partitur-Bibliothek (Score Library).

In Cooperation with G. Henle Verlag

Solo concerto; Romantic; Late-romantic. Study Score. 84 pages. Duration 25'. Breitkopf and Haertel #PB 15133-07. Published by Breitkopf and Haertel (BR.PB-15133-07).

ISBN 9790004214695. 6.5 x 9 inches.

Bruch's evergreen for the first time in UrtextThanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto no. 1 zipped onto the road to success and has never left it since. Yet from the preface of the BreitkopfUrtext edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote 3, 4 development sections in the finale, and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: Have I written nothing but this one concerto?The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work.

Cello and orchestra (3 (3. auch Picc.) * 0 * 2 * Bassklar. * 2 - 3 * 0 * 0 * 0 - P. S. (Crot. * Marimba * kl. Trgl. * m. u. gr. Hangebeck. * Tamt. * Tomt. * gr. Tr. * Chimes * Clav. * Woodbl.) (2 Spieler) - Str. (gross besetzt)) - advanced

SKU: HL.49019901

For Violoncello and Orchestra. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. String. Softcover. Composed 2011. 68 pages. Duration 25'. Schott Music #ED21667. Published by Schott Music (HL.49019901).

ISBN 9790001196611. 9.25x12.0x0.186 inches.

Enjott Schneider's Concerto for violoncello takes up the Sumerian legend of the bird deity 'Dugud' in archaic scenes. Legend has it that Princess Emeshe was impregnated by the hermaphrodite - half eagle, half falcon - in a dream and founded with her son Almos, who had thus been conceived, the royal Hungarian dynasty.In expressive musical pictures, Schneider describes the dark-erotic struggle of impregnation as well as the chant of the unborn. Hovering above everything is the vision of life in complete freedom like a bird.The work was premiered by the Hungarian cellist Laszlo Fenyo in 2011. Thanks to the piano score written by the composer, the work can now also be studied and performed by a duo.