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 Hanu 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.
SKU: HL.1190004
ISBN 9781705192498. UPC: 196288131717.
From the composer: Evensong was composed at the request of my friend David Wick, principal hornist of the Virginia Symphony Orchestra. He asked that I compose a recital piece for him to play with the orchestra's music director, JoAnn Falletta, who is also a virtuoso guitarist. The only stipulation he made was that the work include fragments of one of his favorite melodies, “Lasst mich alleâ€, from Four Songs, Op. 82, by AntonÃn Dvorák. The melody is also quoted in the Adagio movement of DvorákÂ’s Cello Concerto in B Minor, Op. 104, B. 191. The music is absolute in nature and cast in the form of a single movement fantasy based loosely on DvorákÂ’s melody, which is stated at the outset and at the conclusion.