Par ELGAR EDWARD. The Barenreiter Facsimile seal is used exclusively for facsimile publications that meet the highest technical and scholarly demands. The distinguishing features include A facsimile in high resolution full-colour printing, reflecting the original Specially selected paper Decorative binding in keeping with the historic theme Individually trimmed pages, as far as the edition allows A commentary by internationally renowned scholars Facsimile of the autograph in the Royal College of Music, London With an introduction by Jonathan Del Marand a preface by Stephen Isserlis (English/German)/ Répertoire / Violoncelle et Orchestre

Original Version. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Orchestre

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

Tenebrae (1982) a single-movement cello concerto commissioned and premiered by Rostropovich who praised the composer for his fine understanding and command of the rich timbre of the instrument. It is a convincing and almost nightmarish work containing music which leaves a tremendous impact on the listener. Not least in the central section where ghastly and terrifying apparitions are invoked out of the darkness. The final poetical section of the work is directly inspired by the description of the closing movement of Leverkühn?s Cantata in Thomas Mann?s Doktor Faustus.

La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'harmonie est sans doute une gageure risquée, Aussi le compositeur a-t-il été particulièrement attentif au dosage des masses sonores dans cette oeuvre, Le lyrisme généreux du violoncelle se mêle harmonieusement aux grappes de couleurs sonores des instruments à vent dans les deux mouvements liminaires - dans le mouvement central seulement le soliste semble devoir être écrasé par la masse de l'orchestre, mais à la fin de l'oeuvre c'est lui seul qui a le dernier mot, - Couleurs, ombres, lumières (07'00'')- Duel (07'30'')- Espaces des songes (05'30) Conducteur - ref, DLT2366Matériel - ref, DLT2366ESoliste - DLT2385 / Violoncelle Et Orchestre

La confrontation d'un instrument à cordes soliste et d'un grand orchestre d'harmonie est sans doute une gageure risquée, Aussi le compositeur a-t-il été particulièrement attentif au dosage des masses sonores dans cette oeuvre, Le lyrisme généreux du violoncelle se mêle harmonieusement aux grappes de couleurs sonores des instruments à vent dans les deux mouvements liminaires - dans le mouvement central seulement le soliste semble devoir être écrasé par la masse de l'orchestre, mais à la fin de l'oeuvre c'est lui seul qui a le dernier mot, - Couleurs, ombres, lumières (07'00'')- Duel (07'30'')- Espaces des songes (05'30) Conducteur - ref, DLT2366Matériel - ref, DLT2366ESoliste - DLT2385 / Violoncelle Et Orchestre

Par SCULTHORPE PETER. Written in 1998, Peter Sculthorpe's calm work draws its inspiration from his own environmental concerns for Northern Australia's so-called 'Top End'. There, along the coastline, Aboriginal and Torres Strait Island cultures mingle with those of Melanesia and Indonesia. Cello Dreaming reflects this plurality. / Niveau : Assez Facile / Répertoire / Conducteur