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
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
Après Altius (1999) pour violoncelle et 16 instruments et Huit à l'infini (200...(+)
Après Altius (1999) pour violoncelle et 16 instruments et Huit à l'infini (2001) pour octuor de violoncelles et orchestre, Horizons réflexes est ma troisième oeuvre de nature concertante écrite pour le violoncelle.Au début de la composition de cette pièce, dédiée à Gary Hoffman et commandée par le festival Automne en Normandie, j'avais à l'esprit l'idée quasi picturale d'un paysage étrange, constitué de lignes se développant horizontalement et de verticalités presque régulières qui se rencontrent, se trouvent, se dérobent ou se métamorphosent.Non seulement le vers du poète Alexis Pelletier 'Un matin, je fus saisi par l'évidence des horizons réflexes' m'a donné l'idée du titre de la pièce, mais il m'a également permis de conceptualiser la plastique sonore que je souhaitais développer au long des six sections enchaînées que compte cette composition.Dans la plupart de mes oeuvres concertantes - et c'est de nouveau le cas dans Horizons reflexes, le soliste devient la 'voix supérieure' d'une matière sonore en mouvement prolongée par un orchestre 'résonateur' qui sait aussi se montrer éloquent. (...)Dominique Lemaître / Violoncelle Et Orchestre
La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'har...(+)
La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'harmonie est sans doute une gageure risquée, Aussi le compositeur a-t-il été particulièrement attentif au dosage des masses sonores dans cette oeuvre, Le lyrisme généreux du violoncelle se mêle harmonieusement aux grappes de couleurs sonores des instruments à vent dans les deux mouvements liminaires - dans le mouvement central seulement le soliste semble devoir être écrasé par la masse de l'orchestre, mais à la fin de l'oeuvre c'est lui seul qui a le dernier mot, - Couleurs, ombres, lumières (07'00'')- Duel (07'30'')- Espaces des songes (05'30) Conducteur - ref, DLT2366Matériel - ref, DLT2366ESoliste - DLT2385 / Violoncelle Et Orchestre
La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'har...(+)
La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'harmonie est sans doute une gageure risquée, Aussi le compositeur a-t-il été particulièrement attentif au dosage des masses sonores dans cette oeuvre, Le lyrisme généreux du violoncelle se mêle harmonieusement aux grappes de couleurs sonores des instruments à vent dans les deux mouvements liminaires - dans le mouvement central seulement le soliste semble devoir être écrasé par la masse de l'orchestre, mais à la fin de l'oeuvre c'est lui seul qui a le dernier mot, - Couleurs, ombres, lumières (07'00'')- Duel (07'30'')- Espaces des songes (05'30) Conducteur - ref, DLT2366Matériel - ref, DLT2366ESoliste - DLT2385 / Violoncelle Et Orchestre
La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'har...(+)
La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'harmonie est sans doute une gageure risquée, Aussi le compositeur a-t-il été particulièrement attentif au dosage des masses sonores dans cette oeuvre, Le lyrisme généreux du violoncelle se mêle harmonieusement aux grappes de couleurs sonores des instruments à vent dans les deux mouvements liminaires - dans le mouvement central seulement le soliste semble devoir être écrasé par la masse de l'orchestre, mais à la fin de l'oeuvre c'est lui seul qui a le dernier mot, - Couleurs, ombres, lumières (07'00'')- Duel (07'30'')- Espaces des songes (05'30) Conducteur - ref, DLT2366Matériel - ref, DLT2366ESoliste - DLT2385 / 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
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
Seule partition au monde à porter le numéro ISBN 9790520011976 cette partition...(+)
Seule partition au monde à porter le numéro ISBN 9790520011976 cette partition dont le titre est CONCERTO N. 2 IN RE MAGGIORE (G. 479) PER VIOLONCELLO E ORCHESTRA D'ARCHI comporte des morceaux regroupés et composés par le compositeur Boccherini Luigi.Son instrumentation exacte est Violoncelle Et Orchestre A Cordes. Amateur ou passionné de Classique vous trouverez inévitablement votre bonheur dans la version papier de cette oeuvre. / Violoncelle Et Orchestre A Cordes / Partition
Reduction Pour Violoncelle et Piano Par L'Auteur. Par SAINT-SAENS CAMILLE. Autho...(+)
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
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
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
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
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