Violoncello SKU: BA.BA05278 Composed by Johann Sebastian Bach. Edited by ...(+)
Violoncello
SKU:
BA.BA05278
Composed
by Johann Sebastian Bach.
Edited by Andrew Talle.
This edition: Facsimile,
Urtext edition.
Paperback. Barenreiter
Urtext. Urtext from the
New Bach Edition -
Revised (NBArev).
Performance score,
anthology, Facsimile. BWV
1007-1012. Baerenreiter
Verlag #BA05278_00.
Published by Baerenreiter
Verlag (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.
Consideri
ng 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.
Andr
ew 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?<
/p>
MUSICOLOGICA
LLY 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
Violoncello SKU: BA.BA05277 Composed by Johann Sebastian Bach. Edited by ...(+)
Violoncello
SKU:
BA.BA05277
Composed
by Johann Sebastian Bach.
Edited by Andrew Talle.
This edition: facsimile.
Paperback. Facsimile. BWV
1007-1012. Baerenreiter
Verlag #BA05277_00.
Published by Baerenreiter
Verlag (BA.BA05277).
ISBN 9790006569618.
32.5 x 25.5 cm
inches.
The suites
are the very core of
cello literature, with
their timeless beauty
accompanying cellists
from their student years
throughout the height of
their professional
careers.
Consideri
ng the worksâ??
significance, the great
number of editions in
existence is not
surprising. However, the
composerâ??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.
This
facsimile edition is the
first to juxtapose all
four autograph sources as
well as the first print
(along with Bachâ??s own
arrangement of Suite No.
V for lute). For the
first time, readers can
compare a specific
section in all sources at
one glance. This allows
for a straightforward and
immediate consideration
of all sources.
Violoncello - Level 5 SKU: BA.BA11071 Composed by Matthias Pintscher. In ...(+)
Violoncello - Level 5
SKU: BA.BA11071
Composed by Matthias
Pintscher. In a folder.
Part II of the cycle
Profiles of Light.
Performance score.
Composed 2015. 4 pages.
Baerenreiter Verlag
#BA11071_00. Published by
Baerenreiter Verlag
(BA.BA11071).
ISBN
9790006562015. 42 x 29.7
cm
inches.
“Now
II†is the second
part of a triptych of
chamber pieces entitled
“Profiles of
Lightâ€. The first
part is written for solo
piano (Now I, BA 11073),
the second for
unaccompanied cello. The
two instruments are then
combined in the
concluding third part,
Uriel (BA
11013).
All three
pieces were inspired by
the Abstract
Expressionist paintings
of the American artist
Barnett Newman. Newman's
work has had a formative
impact on Matthias
Pintscher's artistic
philosophy: what does it
mean to reduce things to
essentials while seeking
maximum immediacy of
expression? Several of
Newman's paintings have a
radiant light of uncommon
intensity, yet resembling
a dark illumination. The
same sort of thing is
found in the late works
of Franz Schubert, where
a comparable profundity
and retrospective
yearning likewise shine
through the surface of
even the brightest
tonalities.
This
is a piece about
resonances, about the
inward and outward givens
of existence, about life
itself: 'I find the cello
a highly suitable
instrument for depicting
such existential
conditions'.
Cello SKU: HL.48025250 For Solo Cello. Composed by Detlev Glanert....(+)
Cello
SKU:
HL.48025250
For
Solo Cello. Composed
by Detlev Glanert. Boosey
& Hawkes Chamber Music.
Classical. Softcover.
Duration 300 seconds.
Bote & Bock #M202537169.
Published by Bote & Bock
(HL.48025250).
UPC:
196288142942.
The
composer and conductor
Oliver Knussen (1952 -
2018) was loved by many
companions for his
generosity and musical
intellect. To Detlev
Glanert, whose works he
loved to perform, he was
a friend and one of his
'personal heroes'. By his
own admission, he learned
attention to detail from
'Olly', with whom he
worked at Tanglewood as
early as 1986. If
Glanert's Trumpet
Concerto, composed in
2018, is the large-scale
symphonic homage to his
role model, the solo
“Little Letter to
Olly†does the same
in a small format. Two
elegiac adagio sections
frame a boisterous presto
with all kinds of
virtuoso tricks. The
'Letter without Words'
owes its existence to a
suggestion by the cellist
Anssi Karttunen, who
asked for commemorative
pieces for Knussen's 70th
birthday from a number of
composers and premiered
them at the Aldeburgh
Festival 2022.
Cello solo SKU: BR.EB-9074 (Plainte sur la perte de la reflexion music...(+)
Cello solo
SKU:
BR.EB-9074
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Edited by
Michael Bach. Arranged by
Michael Bach. Solo
instruments; stapled.
Edition Breitkopf. You
will need a copy of BG
1002 for each player to
perform the version for
variable instrumentation
(BG 1004). Music
post-1945; New music
(post-2000). Score.
Composed 1972. 12 pages.
Duration 20'. Breitkopf
and Haertel #EB 9074.
Published by Breitkopf
and Haertel (BR.EB-9074).
ISBN 9790004179499. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: VIII version
for violoncello Tokyo:
October 14, 1989.
Cello SKU: BO.B.3726 Composed by Melani Mestre. Published by Editorial de...(+)
Cello
SKU:
BO.B.3726
Composed by
Melani Mestre. Published
by Editorial de Musica
Boileau (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.