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

Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Cet hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ', dont le thème suit de près le style de musique du XVIIIe siècle, exige un maximum d'accomplir et brillance technique de la violoncelliste solo. Les variations sont connectées musicalement par orchestrales ritournelles qui, en matière de musique et de la substance, presque forment une deuxième séquence de variations./ Répertoire / Violoncelle et Orchestre

This study score is based on the score and complete performance material of Dvorák's famous B minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny.Like every other major 19th-century cello concerto, Dvorák's concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák's autograph were written by the cellist Hanus 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 conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, Dvorák's definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts. - Includes Dvorák's final and definitive version of the solo cello part - Incorporates new discoveries regarding the collaboration between Dvorák and Wihan - With Feuermann's and Casals's alternative versions of a passage in the first movement - Detailed Foreword (Eng/Cz/Ger) / Violoncelle Et Orchestre

Référence unique par son ISBN 73999847307 cette partition musique de Barber Samuel n'est autre que Barber Samuel Concerto For Violoncello And Orchestra qui a été composée pour Violoncelle Et Orchestre. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Hal Leonard. La référence catalogue de cette oeuvre est HL50284730. / Violoncelle Et Orchestre / 52 pages / Partition

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

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

für Violoncello und Orchester. Par SCHNITTKE ALFRED. Schnittke’s first cello concerto was written during a near fatal time in his life, after having suffered a severe stroke in 1985, during which his heart stopped three times. Upon recovery he completed the concerto, the music becoming more dissonant and discordant, with the melodies more contorted. The first cello concerto was a monumental endeavor for large orchestra, and approximately 40 minutes in duration. The work was written for Schnittke’s close friend, Russian cellist Natalia Gutman. The solo part is most feverish and virtuosic, exhausting the performer both technically and emotionally. The last, fourth, movement creates an unusual structuralprogression, ending in what feels like a celestial, hymn-like prayer. Schnittke himself said: Suddenly I was given this finale from somewhere, and I’ve just written it down. Available here is the study score for Schnittke’s emotionally and technically demanding Cello Concerto No. 1. This Sikorski edition study score is well presented, and provides an excellent resource for study or perusal use./ Répertoire / Violoncelle et Orchestre

Par ELGAR EDWARD. Un tour de force pour tout violoncelliste, violoncelle Concerto d'Elgar magnifique est effectué plus souvent que les autres, sauf celui de Dvorák. Considéré comme une élégie pour un monde perdu, le Concerto pour violoncelle a été écrit après une longue stagnation du compositeur créatif au cours de la Première Guerre mondiale I. Mélodique et évocateur, il présente une portée remarquable./ Répertoire / Violoncelle et Orchestre

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 SCHNITTKE ALFRED. Alfred Schnittke's Concerto No. 1 for Solo Cello and Orchestra. Alfred Schnittke's Concerto No. 1 for Solo Cello and Orchestra./ Répertoire / Violoncelle et Orchestre

für Violoncello und Orchester. Par SCHNITTKE ALFRED. For violoncello and orchestra For violoncello and orchestra/ Répertoire / Violoncelle et Orchestre