Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvoråk used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvoråk scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvoråk's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Violoncelle (Partie Séparée)

In G Major. Par DVORAK ANTONIN. The performance material available up till now for DvorĂĄk’s sun-filled cheerful Symphony No. 8 has been notorious for its myriad mistakes. The challenge of correcting it has now been taken over by the editor Jonathan Del Mar. He has taken into account the engraver’s copy, which was actually discovered in a rubbish bin at Novello’s in 1964. Its title page bears the words “Copied from my original manuscript” in DvorĂĄk’s hand. This source proves that many of the readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyist’s pen. This new edition with score and orchestral parts in an enlarged format is accompanied bya detailed Critical Commentary on the sources and alternative readings. It also contains important facsimile pages to clarify problematical readings. Score and orchestral parts in an enlarged format Informative Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) on sources and alternative readings With facsimile pages/ RĂ©pertoire / Violoncelle (Partie SĂ©parĂ©e)

Groupe Iii. Par FOLGNAND GUNTER. Dans sa prĂ©face, le compositeur Ă©crit: 'L'idĂ©e originale de la composition a Ă©tĂ© de: 7 tons entiers, 7 battements (premier mouvement), 7 joueurs Il en est rĂ©sultĂ© une oeuvre pour trois groupes de chaĂźnes de caractĂšres suivantes tons entiers sur C et F: Etapes ! '. Ce travail est impressionnante structurĂ© avec son bruit de chaĂźne sonore, Ă  certains moments, la musique est tout Ă  fait spectaculaire, il montre les aspects de la pĂ©riode romantique tardive, tout en Ă©tant modĂ©rĂ©ment moderne. Cette piĂšce fait de grandes exigences sur les compĂ©tences rythmiques de joueurs et le conducteur aussi bien. GĂŒnter Folgnand, nĂ© Ă  Berlin en 1930, Ă©tait premier violon dans le Radio Sinfonie Orchester de Francfort. / Niveau : AvancĂ© / RĂ©pertoire / Violoncelle (Partie SĂ©parĂ©e)