Bärenreiter's scholarly-critical edition, the first ever of this
masterpiece, presents the work in two performing scores. It contains an
introduction on the history of the work reflecting Ravel's work and
rehearsals with violinist Hélène Jourdan-Morhange and cellist Maurice
Maréchal. Included in the appendix
are the original fingerings by the performers which are not found in the
first edition. They reflect how Ravel must have heard the work in
rehearsals and as such are a document of early 20th century performance
- First Urtext edition of this work - Two performing scores (format 25,5 x 32,5 cm) - Informative introduction to the genesis of the work (Ger/Eng/Fr) - Critical commentary with facsimiles and appendices
It has long been known that certain solo passages in Dvorák's autograph score were actually written by the cellist Hanus Wihan. 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 an authoritative edition which restores 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.
Includes cello part and a piano reduction of the score.
This new edition is J.S. Bach's
arrangement of Antonio Vivaldi’s concerto op. 3 no. 8 from “L’Estro
Armonico”. Originally for two violins, arranged for Cello by F.W. Schneider. Includes piano reduction.