Par DVORAK ANTONIN. 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)/ Répertoire / Violoncelle et Orchestre

Par VIVALDI ANTONIO. 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./ Répertoire / 2 Violoncelles et Piano

Par BRUCH MAX. Aside from his popular Violin Concerto no. 1, “ Kol Nidrei ” numbers among Max Bruch ’s most famous compositions. The melancholy “Adagio after Hebrew melodies” was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor Cello sound is the ideal medium for the voice of a Jewish cantor, and thus to this day “ Kol Nidrei ” offers every cellist a wonderful opportunity to make the instrument “sing”. In this text, based on the first edition of 1881, “ Kol Nidrei ” appears for the first time in an Urtextedition substantiated by scholarly research, for which not just the musical sources, but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part. / Oppermann, Annette / Répertoire / Violoncelle et Piano

2-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 2 part: 23 MINI-Canons – from the very start - 37 Canons – for the progressing demands This collection is particularly well-suited for the playing together ofpupil and teacher, but it also works well in group lessons. A collection of canons for the first learning steps on the instrument as well as for more advanced levels of learning. Through the universal versions for viola, cello and flute, different instruments can also play together. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Violon

2-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 2 part: 23 MINI-Canons – from the very start - 37 Canons – for the progressing demands This collection is particularly well-suited for the playing together ofpupil and teacher, but it also works well in group lessons. A collection of canons for the first learning steps on the instrument as well as for more advanced levels of learning. Through the universal versions for viola, cello and flute, different instruments can also play together. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Flûte Traversière

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

Par NAUDOT JACQUES-CHRISTOPHE. Oeuvre XI. Edition : L'Auteur, Boivin, Le Clerc, s.d. (= c. 1737)Ces concertos pour flûte furent les premiers publiés en France. Cette musique d'inspiration italienne et de bonne qualité - a l'avantage de pouvoir être interprétée à sept musiciens. La partie de flûte solo est une véritable partie de soliste. Le premier violon a également un rôle intéressant.Présentation de Mi-Sung Kim et Emilie Stahl (CeFEdeM Île-de-France) : Vie et oeuvre de Naudot / Niveau : Facile / Répertoire / Instruments Divers et Basse Continue (Fac-similé)

Urtext edition with articulation markings - Soft-cover performing editionWhen you think cello, you think of Bach's immortal cello suites.The suites take centre stage in the cello literature. They are timeless and beautiful and accompany cellists from their student years up through their professional career at the highest level. Appropriately and not surprisingly there are countless editions of the suites. But the composer's autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details, the articulation and phrasing being particularly ambiguous.At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed to the cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike.This new edition, based on volume 4 of the New Bach Edition - Revised (NBArev), now completes Bärenreiter's collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day.The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority of the sources. 'This edition does not present a perfect reconstruction of the lost autograph - no editor could claim to do so. Instead, I have attempted to provide musicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer.?- Urtext edition with articulation by the editor on the basis of intensive source comparison- Musical text identical to the text in New Bach Edition - Revised Volume 4, Book 1- Detailed introduction (Ger/Eng) / Violoncelle

Par DVORAK ANTONIN. The piano reduction, which was prepared by the composer himself, has been edited according to text-critical criteria for the first time as well. Döge 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./ Répertoire / Violoncelle et Orchestre

Edward Elgar's Salut d'amour is one of those pieces by the British composer that has a particularly haunting melody. Composed in 1888 for his future wife Caroline Alice Roberts, the work became an enormous success early on. There are numerous arrangements - but the only versions for which the autograph manuscripts survive are those for Violin and Piano (HN 1188), Piano solo (HN 1190) and Violoncello and Piano. Up to now there has only been an arrangement of the cello part made by the original publisher, presumably with Elgar's approval. We are now for the very first time publishing the version following Elgar's autograph manuscript, which for unknown reasons had never been released. In addition we are publishing the trusted musical text from the first edition. / Violoncelle Et Piano

3- und 4-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 3/4 part Particularly designed for performance in groups and ensembles, the demands grow with the addition of voices and the growing diversity of timbres. As withthe two-voiced canons, also the three and four-voiced canons can with the help of the universal versions be played in all thinkable combinations of instruments up to the various chamber music ensembles. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Violoncelle

3- und 4-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 3/4 part Particularly designed for performance in groups and ensembles, the demands grow with the addition of voices and the growing diversity of timbres. As withthe two-voiced canons, also the three and four-voiced canons can with the help of the universal versions be played in all thinkable combinations of instruments up to the various chamber music ensembles. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Violon

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