By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. Arranged by Mar...(+)
By Ludwig van Beethoven
(1770-1827). Edited by
Jonathan Del Mar.
Arranged by Martin
Schelhaas. For
Piano/Violin/Violoncello
(Solo Piano/Solo
Violin/Solo
Violoncello/Flute/2
Oboes/2 Clarinets/2
Bassoons/2 Horns/2
Clarions/Timpani/2
Violins/Viola/Violoncello
/Contrabass). This
edition: Paperback,
Urtext edition. Piano
reduction, Set of parts.
Opus 56. 91/44/19/19
pages. Duration 35'.
Published by Baerenreiter
Verlag
Cello SKU: HU.HN666 Composed by Johann Sebastian Bach. Edited by Egon Voss. Str...(+)
Cello
SKU: HU.HN666
Composed by Johann
Sebastian Bach. Edited by
Egon Voss. Strings,
Repertoire, Solos. 6
Suites for Violoncello
solo BWV 1007-1012.
Softcover Book. 136
pages. G. Henle #HN666.
Published by G. Henle
Cello (Violoncello) SKU: BA.BA08966-82 Composed by Charles Francois Gouno...(+)
Cello (Violoncello)
SKU: BA.BA08966-82
Composed by Charles
Francois Gounod. Edited
by Hans Schellevis. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. 12
pages. Baerenreiter
Verlag #BA08966_82.
Published by Baerenreiter
Verlag (BA.BA08966-82).
ISBN 9790006564088.
32.5 x 25.5 cm
inches.
Sacred
works occupy a large part
of Charles Gounod's
oeuvre. It was the Messe
solennelle en l'honneur
de Sainte Cecile that
established his fame as a
church composer. Its
melodic invention and
effective handling of the
orchestra reveal a close
proximity to opera. This
Urtext edition is based
not only on the original
print of 1856 but also on
copyists' manuscripts and
autograph sources.
Rounding off this
well-researched Urtext
edition are an
informative Introduction
and a detailed Critical
Commentary. The edition
is being published to
celebrate the 200th
anniversary of Gounod's
birth.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
(Basso ad libitum). By Wolfgang Amadeus Mozart (1756-1791). Edited by Albrecht H...(+)
(Basso ad libitum). By
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Albrecht Holder and James
Massol. For Bassoon,
Cello, Basso Continuo.
Schott. Softcover. 36
pages. Schott Music
#ED21137. Published by
Schott Music
Composed by Johann Christian Bach (1735-1782), edited by Henri Casadesus. Set of...(+)
Composed by Johann
Christian Bach
(1735-1782), edited by
Henri Casadesus. Set of
performance parts
(includes separate
pull-out viola part) for
viola (also includes
optional violin and cello
transcriptions) and
piano. With solo part and
piano reduction. C Minor.
28 pages. Published by
C.F. Peters.
By Antonin Dvorak (1841-1904). Edited by Jonathan Del Mar. For cello and orchest...(+)
By Antonin Dvorak
(1841-1904). Edited by
Jonathan Del Mar. For
cello and orchestra. This
edition: Urtext. Solo
part and piano reduction.
Opus 104. Published by
Baerenreiter Verlag
(Revised Edition With Marked and Unmarked String Parts). By Ludwig van Beethoven...(+)
(Revised Edition With
Marked and Unmarked
String Parts). By Ludwig
van Beethoven
(1770-1827). Edited by
Jens Dufner. For cello
and piano. Henle Music
Folios. Solo part and
accompaniment. 266 pages
Mixed Trios. By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Trios....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Cello or
Bassoon. Trios. Music for
Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 3. Published by Last
Resort Music Publishing.
Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown /
Neal Peres Da Costa /
Kate Bennett Wadsworth.
For cello and piano. This
edition: Urtext edition.
Stapled. With an Urtext
solo part by Clive Brown
and a solo part with
bowing and fingering by
Kate Bennett Wadsworth;
Fingering in the piano
part by Neal Peres Da
Costa; Performance
Practice Commentary by C.
Brown, N. P. Da Costa and
K. B. Wadsworth. Level 3.
Score and part. Text
Language: German/English.
Opus 38. Published by
Baerenreiter Verlag
Composed
by Antonio Vivaldi.
Edited by Bettina
Schwemer. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Score. RV 531.
Baerenreiter Verlag
#BA10946_00. Published by
Baerenreiter Verlag
(BA.BA10946).
ISBN
9790006569748. 31 x 24.3
cm inches. Key: G minor.
Preface: Schwemer,
Bettina.
Throughout
his life, Antonio Vivaldi
wrote almost thirty
instrumental works that
use the cello as a solo
instrument. Vivaldi knew
how to tailor his music
to the cello and in doing
so, helped to establish
this still young
instrument in the music
of that time.
The
Concerto RV 531 is the
only double concerto in
Vivaldi’s uvre for
two solo violoncellos.
The two solo parts take
centre stage with
virtuosic passages but
lie on the instrument so
well that they can be
comfortably mastered by
advanced
students.
The
edition is based on the
careful evaluation of
Vivaldi’s
autograph score which is
the main source and
several inconsistencies
found in previous
editions have been
clarified. At the same
time the edition allows
for a flexible
realisation of this
concerto: it can be
performed by a full tutti
orchestra or by one
performer per part. The
cello part in the basso
continuo group can be
played by orchestral
cellists or by the
soloists.
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
Mixed Trios. By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Trios....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Cello or
Bassoon. Trios. Music for
Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 3. Published by Last
Resort Music Publishing.
Manuscrits uniques conserves dans la collection du Comte de Schonborn-Wiesenthei...(+)
Manuscrits uniques
conserves dans la
collection du Comte de
Schonborn-Wiesentheid,
dates de 1725. By
Giovanni Benedetti
Platti. Edited by Frohmut
Dangel-Hofmann.
Violoncelle et basse
continue. For Cello.
Facsimiles. Collection
Dominantes. Level: Grade
0. 80 pages. Published by
Editions Fuzeau Classique
- France (French import).
Cello and Piano. Composed by Max Bruch (1838-1920). Edited by Annette Opperm...(+)
Cello and Piano. Composed
by
Max Bruch (1838-1920).
Edited by Annette
Oppermann
and Johannes Umbreit.
Sheet
Music. Paperbound. Henle
Music Folios. With marked
and unmarked string
parts.
Classical. Softcover
Piano
Reduction. 20 pages. G.
Henle #HN1145. Published
by
G. Henle
Urtext. Composed
by Robert Schumann.
Edited by Joachim
Draheim. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). A
key work of the romantic
concerto repertoirePiano
reduction annotated by
Robert Schumann. Solo
concerto; Romantic. Part.
12 pages. Duration 23'.
Breitkopf and Haertel #OB
5283-23. Published by
Breitkopf and Haertel
(BR.OB-5283-23).
ISBN
9790004332863. 10 x 12.5
inches.
Robert
Schumann's Violoncello
Concerto op. 129 can be
regarded as the first
great concerto for this
instrument's repertoire.
It is thus somewhat
surprising that this work
had an extremely
problematic reception
history at the
outset.Schumann wrote the
score in 1850, during his
Dusseldorf years, but
there was neither a
concrete occasion nor a
soloist for a world
premiere. After its
publication, more years
elapsed before the world
premiere. It was only
towards the end of the
19th century that
Schumann's Cello Concerto
finally made its
breakthrough as a
repertoire piece. The
Urtext edition is based
on the original print of
the parts and the piano
reduction, which had
still been supervised by
Schumann. In addition,
the autograph of the
score was consulted for
purposes of comparison.
The internationally
renowned soloist Heinrich
Schiff took part in the
preparation of the
edition for violoncello
and piano. His
experiences have been
incorporated into his
arrangement of the solo
part. With his comments,
Schiff also provides
valuable tips on the
interpretation of the
work.
A key work
of the romantic concerto
repertoireThe piano
reduction by Robert
Schumann contains the
unsigned solo part as
well as the solo part
arranged and annotated by
Heinrich Schiff.
Urtext. Composed
by Robert Schumann.
Edited by Joachim
Draheim. Orchestra;
Folder.
Orchester-Bibliothek
(Orchestral Library). A
key work of the romantic
concerto repertoirePiano
reduction annotated by
Robert Schumann. Solo
concerto; Romantic. Set
of parts. 78 pages.
Duration 23'. Breitkopf
and Haertel #OB 5283-30.
Published by Breitkopf
and Haertel
(BR.OB-5283-30).
ISBN
9790004332887. 10 x 12.5
inches.
Robert
Schumann's Violoncello
Concerto op. 129 can be
regarded as the first
great concerto for this
instrument's repertoire.
It is thus somewhat
surprising that this work
had an extremely
problematic reception
history at the
outset.Schumann wrote the
score in 1850, during his
Dusseldorf years, but
there was neither a
concrete occasion nor a
soloist for a world
premiere. After its
publication, more years
elapsed before the world
premiere. It was only
towards the end of the
19th century that
Schumann's Cello Concerto
finally made its
breakthrough as a
repertoire piece. The
Urtext edition is based
on the original print of
the parts and the piano
reduction, which had
still been supervised by
Schumann. In addition,
the autograph of the
score was consulted for
purposes of comparison.
The internationally
renowned soloist Heinrich
Schiff took part in the
preparation of the
edition for violoncello
and piano. His
experiences have been
incorporated into his
arrangement of the solo
part. With his comments,
Schiff also provides
valuable tips on the
interpretation of the
work.
A key work
of the romantic concerto
repertoireThe piano
reduction by Robert
Schumann contains the
unsigned solo part as
well as the solo part
arranged and annotated by
Heinrich Schiff.
Urtext. Composed
by Robert Schumann.
Edited by Joachim
Draheim. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). A
key work of the romantic
concerto repertoirePiano
reduction annotated by
Robert Schumann. Solo
concerto; Romantic. Part.
12 pages. Duration 23'.
Breitkopf and Haertel #OB
5283-15. Published by
Breitkopf and Haertel
(BR.OB-5283-15).
ISBN
9790004332832. 10 x 12.5
inches.
Robert
Schumann's Violoncello
Concerto op. 129 can be
regarded as the first
great concerto for this
instrument's repertoire.
It is thus somewhat
surprising that this work
had an extremely
problematic reception
history at the
outset.Schumann wrote the
score in 1850, during his
Dusseldorf years, but
there was neither a
concrete occasion nor a
soloist for a world
premiere. After its
publication, more years
elapsed before the world
premiere. It was only
towards the end of the
19th century that
Schumann's Cello Concerto
finally made its
breakthrough as a
repertoire piece. The
Urtext edition is based
on the original print of
the parts and the piano
reduction, which had
still been supervised by
Schumann. In addition,
the autograph of the
score was consulted for
purposes of comparison.
The internationally
renowned soloist Heinrich
Schiff took part in the
preparation of the
edition for violoncello
and piano. His
experiences have been
incorporated into his
arrangement of the solo
part. With his comments,
Schiff also provides
valuable tips on the
interpretation of the
work.
A key work
of the romantic concerto
repertoireThe piano
reduction by Robert
Schumann contains the
unsigned solo part as
well as the solo part
arranged and annotated by
Heinrich Schiff.
Urtext. Composed
by Robert Schumann.
Edited by Joachim
Draheim. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). A
key work of the romantic
concerto repertoirePiano
reduction annotated by
Robert Schumann. Solo
concerto; Romantic. Part.
12 pages. Duration 23'.
Breitkopf and Haertel #OB
5283-19. Published by
Breitkopf and Haertel
(BR.OB-5283-19).
ISBN
9790004332856. 10 x 12.5
inches.
Robert
Schumann's Violoncello
Concerto op. 129 can be
regarded as the first
great concerto for this
instrument's repertoire.
It is thus somewhat
surprising that this work
had an extremely
problematic reception
history at the
outset.Schumann wrote the
score in 1850, during his
Dusseldorf years, but
there was neither a
concrete occasion nor a
soloist for a world
premiere. After its
publication, more years
elapsed before the world
premiere. It was only
towards the end of the
19th century that
Schumann's Cello Concerto
finally made its
breakthrough as a
repertoire piece. The
Urtext edition is based
on the original print of
the parts and the piano
reduction, which had
still been supervised by
Schumann. In addition,
the autograph of the
score was consulted for
purposes of comparison.
The internationally
renowned soloist Heinrich
Schiff took part in the
preparation of the
edition for violoncello
and piano. His
experiences have been
incorporated into his
arrangement of the solo
part. With his comments,
Schiff also provides
valuable tips on the
interpretation of the
work.
A key work
of the romantic concerto
repertoireThe piano
reduction by Robert
Schumann contains the
unsigned solo part as
well as the solo part
arranged and annotated by
Heinrich Schiff.
Urtext. Composed
by Robert Schumann.
Edited by Joachim
Draheim. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). A
key work of the romantic
concerto repertoirePiano
reduction annotated by
Robert Schumann. Solo
concerto; Romantic. Part.
12 pages. Duration 23'.
Breitkopf and Haertel #OB
5283-16. Published by
Breitkopf and Haertel
(BR.OB-5283-16).
ISBN
9790004332849. 10 x 12.5
inches.
Robert
Schumann's Violoncello
Concerto op. 129 can be
regarded as the first
great concerto for this
instrument's repertoire.
It is thus somewhat
surprising that this work
had an extremely
problematic reception
history at the
outset.Schumann wrote the
score in 1850, during his
Dusseldorf years, but
there was neither a
concrete occasion nor a
soloist for a world
premiere. After its
publication, more years
elapsed before the world
premiere. It was only
towards the end of the
19th century that
Schumann's Cello Concerto
finally made its
breakthrough as a
repertoire piece. The
Urtext edition is based
on the original print of
the parts and the piano
reduction, which had
still been supervised by
Schumann. In addition,
the autograph of the
score was consulted for
purposes of comparison.
The internationally
renowned soloist Heinrich
Schiff took part in the
preparation of the
edition for violoncello
and piano. His
experiences have been
incorporated into his
arrangement of the solo
part. With his comments,
Schiff also provides
valuable tips on the
interpretation of the
work.
A key work
of the romantic concerto
repertoireThe piano
reduction by Robert
Schumann contains the
unsigned solo part as
well as the solo part
arranged and annotated by
Heinrich Schiff.
Urtext. Composed
by Robert Schumann.
Edited by Joachim
Draheim. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). A
key work of the romantic
concerto repertoirePiano
reduction annotated by
Robert Schumann. Solo
concerto; Romantic. Part.
8 pages. Duration 23'.
Breitkopf and Haertel #OB
5283-27. Published by
Breitkopf and Haertel
(BR.OB-5283-27).
ISBN
9790004332870. 10 x 12.5
inches.
Robert
Schumann's Violoncello
Concerto op. 129 can be
regarded as the first
great concerto for this
instrument's repertoire.
It is thus somewhat
surprising that this work
had an extremely
problematic reception
history at the
outset.Schumann wrote the
score in 1850, during his
Dusseldorf years, but
there was neither a
concrete occasion nor a
soloist for a world
premiere. After its
publication, more years
elapsed before the world
premiere. It was only
towards the end of the
19th century that
Schumann's Cello Concerto
finally made its
breakthrough as a
repertoire piece. The
Urtext edition is based
on the original print of
the parts and the piano
reduction, which had
still been supervised by
Schumann. In addition,
the autograph of the
score was consulted for
purposes of comparison.
The internationally
renowned soloist Heinrich
Schiff took part in the
preparation of the
edition for violoncello
and piano. His
experiences have been
incorporated into his
arrangement of the solo
part. With his comments,
Schiff also provides
valuable tips on the
interpretation of the
work.
A key work
of the romantic concerto
repertoireThe piano
reduction by Robert
Schumann contains the
unsigned solo part as
well as the solo part
arranged and annotated by
Heinrich Schiff.
Cello (Violoncello) - Level 4 SKU: BA.BA07590-82 Composed by Giuseppe Ver...(+)
Cello (Violoncello) -
Level 4
SKU:
BA.BA07590-82
Composed by Giuseppe
Verdi. Edited by Marco
Uvietta. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Single part. 27 pages.
Baerenreiter Verlag
#BA07590_82. Published by
Baerenreiter Verlag
(BA.BA07590-82).
ISBN
9790006541645. 32.5 x
25.5 cm inches. Preface:
Marco Uvietta.
For
this scholarly-critical
edition, the editor has
consulted no less than 16
sources, many more than
were ever used for any
other edition of the
Requiem; some of these
sources were never
evaluated before and one
source, a hand-written
vocal score, particularly
relevant to the
evaluation of the Liber
scriptus, was newly
discovered.
As
such, this edition offers
new philological and
editorial decisions
regarding phrasing,
articulation and dynamics
and succeeds in
presenting practical
suggestions to solve
musical problems and
those concerning the
interpretation of this
famous work.
This
edition comprises a
concise Critical
Commentary in the score
as well as a detailed one
on the Barenreiter
website. The most
important editions
published in the 19th
century are compared with
regard to musicological
questions in the work.
The genesis of some
misunderstandings
included in the 1913 and
1964 Ricordi editions is
traced. The first version
of the Liber scriptus for
chorus is included in the
appendix while the later
version for mezzosoprano
solo is to be found in
the main part of the
edition.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Folder.
Orchester-Bibliothek
(Orchestral Library).
Klaus Doge has
critically re-examined
all the surviving
sources. His research has
yielded a new,
text-critical edition
that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edit. Solo
concerto; Romantic. Set
of parts. 162 pages.
Duration 42'. Breitkopf
and Haertel #OB 5290-30.
Published by Breitkopf
and Haertel
(BR.OB-5290-30).
ISBN
9790004334775. 9 x 12
inches.
Choosing an
edition of this
celebrated violoncello
concerto has always posed
a dilemma: they were
based either on the first
edition, which was not
given a final
authorization by Dvorak,
or solely on the
autograph, which does not
represent the final
version in many
instances. This was the
case with the Dvorak
Complete Edition of 1955,
for example. Klaus Doge
has critically
re-examined all the
surviving sources. His
research has yielded a
new, text-critical
edition that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edition. In the
conclusions he draws for
performance practice,
Doge generally gives
priority to the first
edition. However, he does
not smooth out Dvorak's
special notation, such as
Dvorak's publisher
Simrock did in his day.
Doge's edition also shows
that the musical text is
not as authenticated as
has been suggested by
previous editions.
Variants have
occasionally been notated
on a second staff at
several passages,
particularly in the solo
part. The piano
reduction, which was
prepared by the composer
himself, has been edited
according to
text-critical criteria
for the first time as
well. Doge was able to
rely on a renowned
performer for this part
of his work: Heinrich
Schiff, who arranged the
solo part and provides
valuable interpretative
tips in his commentaries
on performance
practice.
Schott Student Edition Repertoire Level 3. Composed by Bernhard Romberg. ...(+)
Schott Student Edition
Repertoire Level 3.
Composed by Bernhard
Romberg. Edited by
Beverley Ellis. Arranged
by Friedrich Janssen.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition.
Repertoire. Score and
parts, Softcover. Op.
38/1. 48 pages. Schott
Music #SE1008. Published
by Schott Music
(HL.49045504).
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Klaus Doge has
critically re-examined
all the surviving
sources. His research has
yielded a new,
text-critical edition
that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edit. Solo
concerto; Romantic. Part.
12 pages. Duration 42'.
Breitkopf and Haertel #OB
5290-27. Published by
Breitkopf and Haertel
(BR.OB-5290-27).
ISBN
9790004334768. 10 x 12.5
inches.
Choosing an
edition of this
celebrated violoncello
concerto has always posed
a dilemma: they were
based either on the first
edition, which was not
given a final
authorization by Dvorak,
or solely on the
autograph, which does not
represent the final
version in many
instances. This was the
case with the Dvorak
Complete Edition of 1955,
for example. Klaus Doge
has critically
re-examined all the
surviving sources. His
research has yielded a
new, text-critical
edition that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edition. In the
conclusions he draws for
performance practice,
Doge generally gives
priority to the first
edition. However, he does
not smooth out Dvorak's
special notation, such as
Dvorak's publisher
Simrock did in his day.
Doge's edition also shows
that the musical text is
not as authenticated as
has been suggested by
previous editions.
Variants have
occasionally been notated
on a second staff at
several passages,
particularly in the solo
part. The piano
reduction, which was
prepared by the composer
himself, has been edited
according to
text-critical criteria
for the first time as
well. Doge was able to
rely on a renowned
performer for this part
of his work: Heinrich
Schiff, who arranged the
solo part and provides
valuable interpretative
tips in his commentaries
on performance
practice.
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Arranged
by K. Doge. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library).
Klaus
Doge has critically
re-examined all the
surviving sources. His
research has yielded a
new, text-critical
edition that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edit. Solo
concerto; Romantic. Full
score. 128 pages.
Duration 42'. Breitkopf
and Haertel #PB 5290.
Published by Breitkopf
and Haertel (BR.PB-5290).
ISBN 9790004210802. 10
x 12.5
inches.
Choosing an
edition of this
celebrated violoncello
concerto has always posed
a dilemma: they were
based either on the first
edition, which was not
given a final
authorization by Dvorak,
or solely on the
autograph, which does not
represent the final
version in many
instances. This was the
case with the Dvorak
Complete Edition of 1955,
for example. Klaus Doge
has critically
re-examined all the
surviving sources. His
research has yielded a
new, text-critical
edition that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edition. In the
conclusions he draws for
performance practice,
Doge generally gives
priority to the first
edition. However, he does
not smooth out Dvorak's
special notation, such as
Dvorak's publisher
Simrock did in his day.
Doge's edition also shows
that the musical text is
not as authenticated as
has been suggested by
previous editions.
Variants have
occasionally been notated
on a second staff at
several passages,
particularly in the solo
part. The piano
reduction, which was
prepared by the composer
himself, has been edited
according to
text-critical criteria
for the first time as
well. Doge was able to
rely on a renowned
performer for this part
of his work: Heinrich
Schiff, who arranged the
solo part and provides
valuable interpretative
tips in his commentaries
on performance
practice.
Klaus
Doge has critically
re-examined all the
surviving sources. His
research has yielded a
new, text-critical
edition that meticulously
evaluates the many, often
contradictory readings
that create discrepancies
between the autograph and
the first edition.
Violoncello and Piano (Violin An Cello) SKU: HL.50511950 Composed by Anto...(+)
Violoncello and Piano
(Violin An Cello)
SKU:
HL.50511950
Composed
by Antonio Caldara.
Baroque. EMB. Editio
Musica Budapest #Z12043.
Published by Editio
Musica Budapest
(HL.50511950).
ISBN
9790080120439. K/4
(23,5x31) inches. Antonio
Caldara; Laszlo Mezo;
Gyorgy Orban.
The
two manuscripts in oblong
size (by the same hand)
entitled Sinfonia a
Violoncello Solo which
served as the basis for
the present edition are
being kept in the
Osterreichische
Nationalbibliothek in
Vienna under shelf mark
E.M.29. Apart from the
continuo realization and
modifications in the
sense of present-day
notation carried out
tacitly all other changes
are listed in the
footnotes, editorial
additions have been put
in square brackets. The
bass part was supported
in contemporary practice
by a melody instrument.
If performing with piano
accompaniment, the
supporting of the bass is
not necessary. In case of
harpsichord
accompaniment, however,
it is recommended to play
the bass on bassoon
instead of violoncello.
Territorial restrictions
may apply. Please ask
before ordering.
Violoncello, piano SKU: FG.55011-742-6 Composed by Kalevi Aho. Contempora...(+)
Violoncello, piano
SKU:
FG.55011-742-6
Composed by Kalevi Aho.
Contemporary. Book.
Fennica Gehrman
#55011-742-6. Published
by Fennica Gehrman
(FG.55011-742-6).
ISBN
9790550117426.
Kale
vi Aho's (b. 1949)
concerto no. 2 for cello
and orchestra (2013) is
in five movements
performed without a
break. It begins with a
swinging Berceuse,
followed by a very quick,
virtuosic Presto in 5/8
time. The heart of the
concerto is the
cadenza-like third
movement, Adagio,
dominated throughout by
the soloist. A fairly
short Allegretto is
followed by the closing
Epilogue. This has
flashbacks to the opening
movement, and they lead
to a cadenza in which the
soloist plays only
flageolet notes and
pizzicatos. The concerto
ends with a virtuosic
coda in 5/8 time
evocative of the second
movement.
Arto
Noras gave the concerto
its first performance
with the Lahti Symphony
Orchestra conducted by
Osmo Vänskä in
Naantali on June 5, 2014.
It was a joint commission
from the Naantali Music
Festival and the Lahti
Symphony
Orchestra.
This
product consists of the
solo part (18 pages) and
piano reduction by Kari
Vehmanen (62 pages) -
have a look inside by
clicking “sample.
The concerto is scored
for a fairly small
orchestra. The
instrumentation is
2(II=afl)2(II=ca)2(II=bcl
)2-2200-bar-02-str and
the orchestral material
is available for hire
from the publisher.
Cello and piano SKU: BR.EB-32083 Urtext. Composed by Camillo Schum...(+)
Cello and piano
SKU:
BR.EB-32083
Urtext. Composed
by Camillo Schumann.
Edited by Maria Kliegel.
Solo instruments;
stapled. Edition
Breitkopf.
With
supplementary violoncello
part marked by Maria
Kliegel
Sonata;
Late-romantic. Score. 108
pages. Breitkopf and
Haertel #EB 32083.
Published by Breitkopf
and Haertel
(BR.EB-32083).
ISBN
9790004186299. 9 x 12
inches.
There are
many composers about whom
it is believed, today,
that they composed
conservatively, or
against the taste of
their time. The question
is also raised, today,
which extract of this
large amount of effective
and high-quality music,
unknown for the most
part, should receive our
attention; which of it is
worth rediscovering or
re-editing. Camillo
Schumann is one of the
most important
representatives of these
composers, but his works
are still largely unknown
today. He was born on 10
March 1872 in Konigstein,
Saxony. His musical
language combines the
sound world of Brahms
with the grand,
late-romantic Liszt
School. He wrote piano
parts of incredible power
and virtuosity,
approaching the sounds of
Rachmaninoff. His
wonderfully individual
melodic language makes
these works a valuable
testimony to a composer
who never had his due
recognition. The cello
sonatas Opp. 59 (EB
32082) and 99 (EB 32083)
are the first of three
works for this
combination. Op. 59 was
composed around 1905/06,
Op. 99 followed in 1932.
Nothing is known so far
of the circumstances of
the composition of this
work, including for whom
it was composed. However,
it is quite evident that
Schumann wrote it, like
most of his works,
primarily for his own
concerts and befriended
musicians. The extensive
entries in the piano part
bear witness to a
considerably practical
approach. Crossed-out
bars, notes added or
crossed out in chords as
well as a number of
revisions of other kinds
are more the rule than
the exception. The
composer's own fingerings
written in the piano part
also underline this
assumption. The present
edition contains two
solo-parts each. One
clean Urtext-part free of
any additions from the
editor and a second one
with bowing marks and
fingerings by Maria
Kliegel who recorded both
sonatas for the first
time with the label
Naxos. Both sonatas show
evident resemblance to
the works of this
combination by Johannes
Brahms and are therefore
a must have for ambitious
cellists.
With
supplementary violoncello
part marked by Maria
Kliegel.