Architechtonia was expertly composed in 1986 by Sadie Harrison. Architechtonia...(+)
Architechtonia was expertly composed in 1986 by Sadie Harrison. Architechtonia received its first performance by Projects/London conducted by Richard Bernasat St. John's Smith Square November 1987.Australian born freelance composer and performer Sadie Harrison’s unique fusion of elements from indigenous Lithuanian music and poetry with her own modernist often abrasive style have led her to be compared with Bartok but with her own warmth and grandeur. Since 2012 Harrison has been working along side a long list of well accomplished musicians; PaulCarey Peter Sheppard Skaerved Sergej Okrushko Alex South Duncan Honeybourne are among many who have had the privilege work with Harrison so far. Performances of Harrison's works have beengiven across the world by Lontano London Chamber Symphony Music Projects/ London Ixion Okeanos Bournemouth Sinfonietta Kokoro and the St. Christopherus Chamber Orchestra and many others.
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.
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
B Minor. Par DVORAK ANTONIN. Like every other great 19th-century solo concerto, ...(+)
B Minor. Par DVORAK ANTONIN. 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 Hanuš 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./ Répertoire / Violoncelle et Orchestre
This study score is based on the score and complete performance material of Dvor...(+)
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
L'oeuvre musicale qui a pour support une Partition D'Orchestre a pour titre Song...(+)
L'oeuvre musicale qui a pour support une Partition D'Orchestre a pour titre Songe De Lluc Alcari Op10. C'est une partition musicale composée par Florentz et qui est destinée aux joueurs de Conducteur et Poche. Le détail de l'instrumentation Violoncelle Et Orchestre vous permettra de savoir si cette partition correspond bien à ce que vous cherchez. Son style Classique vous permettra de découvrir ô combien la musique Classique est belle et enrichissante. / Violoncelle Et Orchestre / Partition D'Orchestre
L'oeuvre musicale qui a pour support une Partition a pour titre CONCERTO PER VIO...(+)
L'oeuvre musicale qui a pour support une Partition a pour titre CONCERTO PER VIOLONCELLO E ORCHESTRA IN RE. C'est une partition musicale composée par Boccherini Luigi et qui est destinée aux joueurs de Violoncelle. Le détail de l'instrumentation Violoncelle Et Orchestre vous permettra de savoir si cette partition correspond bien à ce que vous cherchez. Son style Classique vous permettra de découvrir ô combien la musique Classique est belle et enrichissante. / Violoncelle Et Orchestre / Partition
La composition tripartite ' la Vierge '(Nativité, la Vierge à l'enfant - Piet...(+)
La composition tripartite ' la Vierge '(Nativité, la Vierge à l'enfant - Pietà, la Vierge et le crucifié, BEL 499 - triptyque de Pâques, la Vierge par la Croix, BEL 497) est l'une des oeuvres tardives de Mouravieff. Trois pièces peuvent être joués ensemble ou séparément. Mouravieff était très intéressé par la tragédie grecque antique, et cela l'a amené à tenter de faire revivre l'art grec antique du mouvement. En plus de concevoir des rythmiques avec battements forts et faibles, il a continué à faire usage de rythmes grecques antiques et plus tard appliqué ses réflexions au rythme de la respiration. Il décrit cette en termes de battements longs et courts (1,5 et 1 longueur) avec une césure approprié. Par le biais de cette dualité, qui correspondent à des patrons de respiration ou l'impulsion (certains musiciens peuvent aujourd'hui trouver cela plutôt difficile), Mouravieff a tenté d'une manière idiosyncratique d'utiliser pleinement l'élément important du rythme de la musique. / Violoncelle Et Orchestre De Chambre
David Popper (1843-1913), un élève de Julius Goltermann, n'était pas seulemen...(+)
David Popper (1843-1913), un élève de Julius Goltermann, n'était pas seulement un violoncelliste de concert a voyagé beaucoup et réussie. Comme beaucoup de ses collègues musiciens virtuoses, il quitte un certain nombre de compositions pour ses instruments pour la postérité, tels que la 'fantaisie sur l / Violoncelle Et Orchestre
Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur...(+)
Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Violoncello-Konzert écrite et composée pour Violoncelle et plus précisément pour Violoncelle Et Orchestre vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Bärenreiter qui ont eu le privilège d'imprimer cette oeuvre. / Violoncelle Et Orchestre / Partition
Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur...(+)
Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Konzert für Violoncello und Orchester écrite et composée pour Violoncelle et plus précisément pour Violoncelle Et Orchestre vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Bärenreiter qui ont eu le privilège d'imprimer cette oeuvre. / Violoncelle Et Orchestre / Partition
für Violoncello und Orchester. Par SCHNITTKE ALFRED. Schnittke’s first cello ...(+)
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. The Barenreiter Facsimile seal is used exclusively for facsimi...(+)
Par ELGAR EDWARD. The Barenreiter Facsimile seal is used exclusively for facsimile publications that meet the highest technical and scholarly demands. The distinguishing features include A facsimile in high resolution full-colour printing, reflecting the original Specially selected paper Decorative binding in keeping with the historic theme Individually trimmed pages, as far as the edition allows A commentary by internationally renowned scholars Facsimile of the autograph in the Royal College of Music, London With an introduction by Jonathan Del Marand a preface by Stephen Isserlis (English/German)/ Répertoire / Violoncelle et Orchestre
Les éditions Bärenreiter ont édité sous la référence BA 6999 cette partiti...(+)
Les éditions Bärenreiter ont édité sous la référence BA 6999 cette partition musicale pour satisfaire au maximum les amateurs de musique Classique et plus particulièrement les pratiquant de Violoncelle. Cette partition a pour titre Konzert in d für Violoncello und Orchester et pour compositeur Lalo Edouard. / Violoncelle Et Orchestre / Partition
Le Concerto pour violoncelle Enjott Schneider reprend la légende sumérienne de...(+)
Le Concerto pour violoncelle Enjott Schneider reprend la légende sumérienne de la divinité oiseau 'Dugud 'dans les scènes archaïques. La légende raconte que la princesse Emeshe a été imprégné par l'hermaphrodite - moitié aigle, moitié faucon - dans un rêve et fonde avec ses Álmos fils, qui avait ainsi été conçus, la dynastie royale hongroise.En images musicales expressives, Schneider décrit la lutte dark-érotique d'imprégnation ainsi que le chant de l'enfant à naître. Planant au-dessus de tout, c'est la vision de la vie en toute liberté comme un oiseau.L'oeuvre a été créée par le violoncelliste hongrois László Fenyö en 2011. Merci à la partition de piano écrite par le compositeur, le travail peut désormais être étudiés et réalisés par un duo. / Violoncelle Et Orchestre
Les éditions Bärenreiter ont édité sous la référence BA 9040 cette partiti...(+)
Les éditions Bärenreiter ont édité sous la référence BA 9040 cette partition musicale pour satisfaire au maximum les amateurs de musique Classique et plus particulièrement les pratiquant de Violoncelle. Cette partition a pour titre Konzert in e für Violoncello und Orchester et pour compositeur Elgar Edward. / Violoncelle Et Orchestre / Partition
Sans raison valable, cinq concertos violoncelles du Pleyel sont éclipsées par ...(+)
Sans raison valable, cinq concertos violoncelles du Pleyel sont éclipsées par les concertos de ses contemporains, notamment par celles de Joseph Haydn. Contributions de Pleyel très originales au genre, cependant, qui sont parmi ses oeuvres les plus intéressantes, captivate une fois de plus l'auditeur par le biais du compositeur inventivité et charmant noblesse musical. Le violoncelliste hongrois Peter Szabó, qui a présenté le célèbre premier enregistrement des concertos de cinq tous sur l'étiquette de Hungaroton en 2003, a édité les concertos de l'édition originale de Simrock, fournissant des éditions critiques avec ses propres cadences. Les scores et le matériel de performance sont disponibles à la location. / Violoncelle Et Orchestre
Cinq concertos violoncelles du Pleyel ont conduit à tort une existence ombre, c...(+)
Cinq concertos violoncelles du Pleyel ont conduit à tort une existence ombre, comparée à des concertos de contemporains tels que Joseph Haydn. Avec ses contributions indépendantes dans le genre, qui appartient à ses oeuvres intellectuellement plus stimulant, Pleyel a encore une fois impressionne par son imagination et son élégance musical. / Violoncelle Et Orchestre