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Dvořák, Antonín: Concerto III/12

for Violoncello and Orchestra

Klavierauszug

Op. 104
Übertragung von Zelenka, Ladislav
Besetzung: Vc-solo/Fl1/Fl2(Fl-picc)/2 Ob/2 clarinet/2 bassoon/3 Hn/2 Trp/3 trombone/Tb/timpani/Tri/2 V/Va/Vc/double bass
Reihe: The Complete Works of Antonín Dvorák
Periode: Romantik
Gewicht: 0.301 kg
Verlag: Bärenreiter
Artikelnummer: H1200
Verlagsnummer: H01200
ISMN: 9790260103320
Concerto for Cello and Orchestra in B minor, Op. 104, isundoubtedly one of the mostpopular works from the worldwide cello repertoire, and it is the lastcomposition by Dvorak (1841-1904) written in America during his three-year stay when he workedas thedirector of the National Conservatory of Music in New York (1892-1895). Thecomposerwas not particularly fond of the cello as a solo instrument because he wasconvinced itcould only sound wonderful in the orchestra or chamber ensemble, since only itsmiddlepitch was refined (as he once commented: 'up there it mumbles and down there itrumbles'),yet it is interesting to note that he wrote this concerto for the cello, apiece sincerely andunreservedly admired by artists and audiences the world over. This title is acritical editionbased on the composer's manuscript and is part of the first Complete CriticalEdition ofWorks by Antonin Dvorak. Only exceptionally does this edition use a more modernmethodof cello notation for direct transition from ba ss to treble clefs - in thesecases the cellosounds the way it is written. For this edition the composer's adaptation forpiano wassupplemented and revised by Karel Solc. The violoncello part is published in arevisionby Ladislav Zelenka, former member of the famous Bohemian Quartet.
100 Years of Bärenreiter

In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.

During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.

When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.

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