Editor Friedrich Dotzauer Leipzig: C. Peters , No. Bach-Gesellschaft Ausgabe , Band Plate B. XXVII 1. Plate V. Editor Julius Klengel Editor Robert Hausmann Editor Hugo Becker Editor Fernand Pollain Paris: A.
Plate D. Editor Hans Eppstein Plate BA Page size is Editor Werner Icking These file s are part of the Werner Icking Music Collection. Editor Shin-Itchiro Yokoyama. Normal notation version of 5th suite and transposed version in G major of 6th suite are included. See Editor's Notes. Editor Cellofun. Here, the four known manuscript sources have been typeset and laid out in score format so that the notes, slurs, dynamics and any other indications can be easily compared between the different sources.
We have tried to reproduce as closely as possible the ambiguities in the placements and shapes of the slurs of the original manuscripts. This was made more difficult in the Sixth Suite because of the many different and redundant clefs used for this Suite in the manuscripts. In the Fifth Suite the pitches are notated at their true pitch not with scordatura while the Sixth Suite is transposed down a fifth into G major for reasons that are explained on the www.
Arranger Friedrich Wilhelm Stade — Revised version. Leipzig: Edition Peters , n. The title page reference to Robert Schumann is due to the fact that Schumann's arrangement used Dotzauer's edition as its source.
Arranger Ferdinand David Comments and background. Arranger Josef Ebner fl. Plate G. Arranger Werner Icking Arranger Fritz Spindler It seems to be a reissue of Hofmeister Edition. Spindler was a Viola player in Gewandhaus Orchestra Leipzig.
Worldcat turns up nothing more recent than did Spindler leave his arrangement in manuscript? Arranger Shin-Itchiro Yokoyama. Editor's Notes. Arranger Philip Perry. Arranger Thomas Preece. Casals cherished his country; he hated violence and conflict. After years of relentless practice and performance, he created and funded a symphony orchestra and fought to bring affordable music to the masses. He also toured the world performing.
Then World War II erupted. Casals used his status as a celebrity cellist, composer and conductor to convince the Nazis to release Claret's father. After the war they organized relief concerts together for kids who lost their parents.
Their bond was deep, Claret said, and Casals became Claret's godfather. These days Claret still carries a faded photograph of himself with Casals in his cello case. Claret said Casals was so much more than a musician. He passionately believed music must serve a purpose.
For years Casals wanted democratic countries including the U. He refused invitations to festivals and even to the White House. Kennedy and his guests. Luminaries from American music were there, including Leonard Bernstein. Two years later Casals received the Presidential Medal of Freedom. This weekend, Claret will play a slew of songs connected to his influential godfather. One is "Reverie," a piece Casals wrote when he was young in Barcelona. Not one but two concerts are kicking off a season of programming dedicated to Puerto Rico, where Casals spent the last 15 years his life.
Reina said it was the first time the Puerto Rican government invested money into classical music. Reina argues Casals' time in Puerto Rico consolidated his legacy.
Reina remembers being mesmerized as a kid by magazine shots of an old man walking on the beach in a suit and tie. Reina is giving a pre-concert talk at Friday night's performance.
That concert features nine star cellists playing music from Casals' Boston debut recital, a Boston premiere of Casals' "Cinco Obra" for cello and piano and works from the Casals Festivals. She said she wanted to shape a series of events for the local Puerto Rican community that would help raise money in the wake of Hurricane Maria. So I think that's a message for the times right now and I hope that carries through.
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