Nuotteja ja kirjoja kaupassa 59 694 kappaletta ● Erikoistuotteet tilauksesta
Avoinna ma-pe klo 11-18, ti 30.4.24 klo 11-16 (ke 1.5. suljettu) | puh. 020 7070443 | Musiikkitalo, Mannerheimintie 13a B, 00100 HELSINKI | ostinato@ostinato.fi
Bruch
Kol Nidrei op 47 (vc,pf)
Hinta: 16,00
€
Varastossa
Annette Oppermann (Editor)
Johannes Umbreit (Piano reduction)
Christian Poltéra (Fingering and bowing for Violoncello)
Aside from his popular Violin Concerto no. 1, Kol Nidrei numbers among Max Bruchs 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.
Johannes Umbreit (Piano reduction)
Christian Poltéra (Fingering and bowing for Violoncello)
Aside from his popular Violin Concerto no. 1, Kol Nidrei numbers among Max Bruchs 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.
