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Max Bruch

Bruch: Kol Nidre, Op. 47

$ 15.00
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G. Henle Verlag  |  SKU: HN1145  |  Barcode: 9790201811451
  • Composer: Max Bruch (1838-1920)
  • Format: Solo Part with Piano Reduction
  • Instrumentation (this edition): Cello, Piano Reduction
  • Originally for: Cello, Orchestra
  • Work: Kol Nidre, Op. 47
  • ISMN: 9790201811451
  • Size: 9.3 x 12.2 inches
  • Urtext / Critical Edition

Description

Aside from his popular Violin Concerto No. 1, "Kol Nidrei" numbers among Max Bruch's most famous compositions. The melancholy "Adagio after Hebrew melodies" was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor cello sound is the ideal medium for the voice of a Jewish cantor, and thus to this day "Kol Nidrei" offers every cellist a wonderful opportunity to make the instrument "sing". in this text, based on the first edition of 1881, "Kol Nidrei" appears for the first time in an Urtext edition substantiated by scholarly research, for which not just the musical sources, but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part.

G. Henle Verlag

Bruch: Kol Nidre, Op. 47

$ 15.00

Description

Aside from his popular Violin Concerto No. 1, "Kol Nidrei" numbers among Max Bruch's most famous compositions. The melancholy "Adagio after Hebrew melodies" was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor cello sound is the ideal medium for the voice of a Jewish cantor, and thus to this day "Kol Nidrei" offers every cellist a wonderful opportunity to make the instrument "sing". in this text, based on the first edition of 1881, "Kol Nidrei" appears for the first time in an Urtext edition substantiated by scholarly research, for which not just the musical sources, but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part.

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