Leos Janacek wrote only two works for cello and piano of which only Pohadka (Fa...(+)
Leos Janacek wrote only two works for cello and piano of which only Pohadka (Fairy Tale) became established in the concert repertoire. Although he completed the work the composer did not want to have it published. The history of the work’s composition is long and complicated. Janacek began writing the work before 1910 however the Pohadka (Fairy Tale) only received its final form after a series of corrections in 1923. The second composition the Presto is incomplete. Only a sketch exists which Janacek did not develop further. The original tempo marking of Allegro was changed by Janacek himself to Presto. The work has beendiscussed under this title in recent Janacek literature. In the supplement of this edition an early version of A Tale is included. The source to this version is a copy owned by Antonin Vana one of the first interpreters of the composition. The early version of A Tale offers a valuable and interesting alternative to today’s known version with its marked differences such as the considerably changed ending of the first movement and the original form of four movements. Urtext from the Janacek Complete Edition All available sources have been taken into consideration A detailed new foreword by Jiri Zahradka (Czech English German) “Again Bärenreiter sets the industry standard for scholarship clarity of type layout and paper qualitiy.”(Strings July 2009)
Since its premiere in 1873 this work has held an important place in the Violonce...(+)
Since its premiere in 1873 this work has held an important place in the Violoncello repertoire. It is on the one hand a short charming composition; on the other hand equally important is its use in instruction during the first few years of playing. Central here are the articulation of the opening theme and its various repetitions juxtaposed with lyrical passages calling for legato playing.Christine Baur's new scholarly-critical edition is based on a thorough examination of all the sources including Saint-Saëns' later orchestral version. The edition incorporates many articulation alternatives for the soloist which are marked 'ossia' above the solo Cello line in thisversion for Cello and Piano. This important new publication offers cellists not only an Urtext part but also one with bowing and fingering; both parts have a fold-out page so that no page turns are necessary.The first Urtext edition of this important workFold-out page in the solo cello part so no page turns are neededIncludes articulation alternatives as 'ossias'
The French composer Camille Saint-Saëns endowed the music world with a multitud...(+)
The French composer Camille Saint-Saëns endowed the music world with a multitude of masterpieces for violoncello including concertos sonatas and miniatures such as The Swan and the Allegro appassionato Op.43.This first publication of the Sonata in D major is based on Bärenreiter?s Camille Saint-Saëns ?uvres instrumentales complètes. Although we know from correspondence that two complete autographs existed only an incomplete autograph source containing the 1st movement and part of the 2nd movement which breaks off have come down to us. In his final work for violoncello Saint-Saëns juxtaposes highly rhythmical episodes with more poetic ones. These contrasts arereinforced by bold shifts of harmonic colouring and a highly inventive thematic development.These movements are destined to become standards for cellists.First ever Urtext edition of this incomplete work based on Camille Saint-Saëns ?uvres instrumentales complètesInformative Introduction (Fr/Eng/Ger)
Op. 109-This standard work of the cello literature has been extracted from volum...(+)
Op. 109-This standard work of the cello literature has been extracted from volume II of the Complete Works for Violoncello and Pianoforte (BA 9096 and BA 9097) which was published in 2016. Mendelssohn scholar R. Larry Todd edited the scholarly-critical edition of “Song without Words”.This work is not based on the surviving autograph manuscript which could not have been the basis for the posthumous first edition but rather on the only plausible source: the German first edition itself. This was published in 1868 as op. 109 and is unquestionably based on an untraceable complete final manuscript perhaps once previously owned by the dedicatee French cellist LisaBarbier Cristiani.The publication is free from editorial amendments and modern performance instructions and provides an excellent basis for musical interpretation.
Beethoven?s three sets of cello variations comprise the ?Twelve Variations on a ...(+)
Beethoven?s three sets of cello variations comprise the ?Twelve Variations on a Theme from H?ndel?s Oratorio ?Judas Maccabeus?? (WoO 45) the ?Twelve Variations on the theme ?Ein M?dchen oder Weibchen?? (op.66) from Mozart?s opera ?Die Zauberfl?te? and the ?Seven Variations on the duet ?Bei M?nnern welche Liebe f?hlen?? (WoO 46) also from ?Die Zauberfl?te?.These works have existed in many different editions some of which have from time to time been (tacitly) reprinted with corrections to keep up to date with the latest scholarship. This new B?renreiter Urtext edition however is the first to give all Beethoven?s rhythms in the violoncello part correctly.Beethoven?s autograph manuscript of op.66 is lost; the critical commentary (English) includes a complete facsimile of the violoncello part from the only surviving source (the first edition) illustrating the various problems encountered in determining the best musical text.With numerous corrections in the violoncello partIncluded in the critical commentary is a complete facsimile of the violoncello part of op. 66 as it appeared in the first edition
By Joseph Bodin de Boismortier. Edited by Hugo Ruf. For Cello/Bassoon Basso Con...(+)
By Joseph Bodin de Boismortier. Edited by Hugo Ruf. For Cello/Bassoon Basso Continuo. Violoncello. Playing Score; Single Part. Op. 50/3. Published by Baerenreiter-Ausgaben (German import). (BA3963) ISBN M006442058.
Felice Maria Picinetti is one of those composers who did not make a lasting mark...(+)
Felice Maria Picinetti is one of those composers who did not make a lasting mark on the history of music. He is believed to have been active as a cellist in Dresden around 1733. His cello sonata hints at a lively temperament and a solid training in the Baroque sonata da chiesa style. It affords cellists a welcome opportunity of performing Baroque music as a soloist instead of as a continuo player.