Antonin Dvorák's Concerto In B Minor Op. 104. Piano score. Urtext edition.
SKU: BA.BA10420
ISBN 9790260108387. 31 x 24.3 cm inches. Key: G minor. Preface: David R. Beveridge.
Composed in 1876, Dvorákâ??s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form.The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel Å olc.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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
SKU: BA.BA09045-65
ISBN 9790006537655. 32.5 x 25.5 cm inches. Key: B minor.
Like every other great 19th-century solo concerto, Dvorak's famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorak's autograph score were actually written by the cellist Hanus Wihan; but Barenreiter'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 an authoritative edition which restores - for the first time since the original edition was published in 1896 - Dvorak'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 Dvorak'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 Dvorak and Wihan* With Dvorak's original piano reduction* With Feuermann's and Casals' alternatives to a passage in the first movement.
SKU: BR.OB-5290-30
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.
SKU: BR.OB-5290-27
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.
SKU: BR.PB-5290
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.
