- EDITION BREITKOPF - VORAK fir Violoncello und Orchester h-moll op. 104 f Ausgabe fiir Violoncello und Klavier (K Dége/H. Schiff)ANTONIN DVORAK (1841-1904) Konzert Concerto fiir Violoncello und Orchester —_ for Violoncello and Orchestra h-moll in B minor op. 104 Klavierauszug vom Komponisten / Piano Reduction by the Composer herausgegeben von /edited by Klaus Dage Solostimme cingerichtet und kommentiert von / Solo Part arranged and annotated by Heinrich Schiff f BREITKOPF & HARTEL WIESBADEN - LEIPZIG - PARIS Edition Breitkopf 8696 Printed in GermanyVorwort Dis Violoncellokonzer hrmoll op. 104 war das lette Werk, das Antonin Dvorik wihrend seines Aufenthaltes in Amerika (September 1892 ~ Api 1895) komponiere, und zugleich auch das letzte Werk innerhalb der Gatung Konzert, die im Schaffen des Prager Komponisten cher peipherveructen war tund scit dem Vielinkonzere op. $3 von 1879/80 iber viele Jabre inweg kaum eine Rolle mehr espe hate Mit der Komposition des Cellokonzeres begann Dvofék am 8, November 1894 im sogenannten Firfen Amerikenschen ‘Stizzenbch'. Yea Mitelpunke sand dabei zunachst die Skiz ‘ierang des ersten Sates, der in moll konzipiet war, nach ‘eva 50 Takten abbricht, mit glecher Thematik in hm nea beginnt und darufhin in einem Stick durchkomponier. wurde. Zar selben Asbetsphase gehirten auch die Noting, des Anfanges des mit Lent Uberschriebenen zweiten Sates some die Niedrschrift der esten Tale des Finals af einem sepaaten und mit New Yor 16. November 1894 datierten Eine abla? Diese beiden Entwirfe aber wurden nicht unite bar frtgesetzt, sondem zunichst beste gelegt zagunsten der Instrumentierung und Pariturausabeitung des Koptatzes, die sischen dem 18, November und 12, Dezernber 18% erolg- ten, Eist danach kehrte Dvofék zur Skizierang des zweiten Satzeszurick, in den er jett ~ angeegt durch die trauigen Briefe seiner todiranken Schwagein und cinsigen Klavier schillein Josefina Kounicovs ~ als Thema des Miteties (Golo T.42ff) eine Variante der Singsimmenmelodie der er ten Takte aus seinem 1887/88 komponierten Lied yLasst mich allen in meinen Teiumen gehn" (,K&% duch mij sim") ein bezog, aus jenem Lied, das als Liblingsied der Schwagern gall. Am 15. Dezember 1894 wurde der zweite Satz in der Skizze beendet und unmitelbar danach in Paitue gesetet (Enddatam 30. Dezember 1894). Der Forsetzung der Skzzie rung des dritten Satzes schlilich waneke sich Dyotale am 1. Januar 1895 2u, und berets elf Tage spter, am 12. Januar 1895, begann er diesen Satz in Parttur 2u schreiben. Am A Februar war erbei Takt 386 angelang (Vermerk am unteen Rand der Parstue: ,Heute den 8 Februar groBer Frost und Schncestumm in New York"), einen Tag spiter schloss er rit den Worten ,Got sei Dank! Beendet in New York am 9. Rebruar 1895 am Geburstag unseres (Sohnes] Ota. Morgens am Samstag 11s Uh“ die Panituiederschift und amit die Kompostion seines Violoncllokonzeres ab, Nach der Riickkehr nach Bohmen im Apri 1895 allrdings unteraog cc das Werk mehrfachen Ober- und Umarbeitungen. Das betaf allem voran den Solopar, den Dvotik mit dem be freundeten Prager Celloinuosen Hanus Wihan duschging, wobsi er manchen Verbesserungsvorschlag. des erfahrenen Tnstramentalsen (4ersogr selbst Spiealtemativen indie a tographe Partitureintrog aufgriff und berahrn. Im Zentrum ciner weteren Umarbeitung stand das Ende des Finalsatzes 449M), das urspringlich nur ver ausklingende Takte des Solos und ach abschlieende Orchesterakte (von denen die esten vier motivisc auf einer diminuierten Form des Haupt themenkopfés beruhten) umfisste, in der neuen, mit Pick 116.1895 datieten umfangcheren Version abet sowohl Reminiseenzen an das Hauprthema des Kopfatzes als auch cin Zitat des Liedthemas aus der zweiten Sat beinhaete, Mit diesen Zitaten spielt Dvoték auf den Tod seiner Schwerin Josefina Kounicové an, die am 27. Mai 1895 starb; cingerahmt ‘yon Anklingen an den ersten Satz ent in einer komposto Fisch wie instrumental aufflgen Faleur (Diskandage one Bass; Solovotine) noch einmal ihr Thema, was der Prager Komponist einmal so beschveb: Das ‘Finale schleSe allmihlch dimin{ uendo} wi ein Hauch ~ mit Reminiszenzen, an den Lund IL Satz — dss Solo Migs aus bis zum pp und dann cin Aufichwellen und die ltten Takte ibemimme das Orchester und schleBt im stirmischen Tone Eine lette ‘Umarbstung galt den Takten 1664, und 2934 des ersten Sat- 2, die in den Tagen zwischen dem 21. und 25. September 1895 erfolgt sein muss, als Dvotdk mit seinen Freunden auf dem bahmischen Schloss Ludany weit, wo sviel musizien* ‘und w2uch das Konzert mit Wihan gespilt wurde.“ Wie bei manch anderen seiner gen Werke hat Antonin Dvoiik, cin versirter Pianist der wiederholt in Konzerte den. Klavierpartsenes Klaviertios Fol op. 65 gespielt hate, auch zum Violonecllokonzert hemoll op. 104 den vom Vesleger Fritz Simrock, Bedi, gewinschten Klavierauszug selbst ange ferig. Das autographe Manushrpt (rue Quellenbeschrebung val. die Angaben im Kritischen Bericht), das den auf Klavier Ubersagenen Orchestesatz ohne ausgeschrcbene Solestimme enthalt, trigt die Daten: Vosokt 99.1895 (Anfangsdatuin Satz I, Vjoké 1291895 (Enldatum Sate, Vysobd 169.1895 (Endéatum Satz 1) und Na zémka Ladanshem dee 25, Zaft 1895, (Auf dem Schlo8 in Lutany den 25. September 1895 (Ganddatum Finalsaz). Im Okzober 1895 lie Dvotik davon ine Abschiftanfertigen, die dem Veiag Simrock als Stich vodage fir den Estdrck des Klavierauszuges diene. Als No- ‘iti in den Signal fir die Musikalisce Welt vor 17. Januat 1896 angekiindigt, wurde verschiedenlich die Frage laut, .0b der bohmische Meister mit diesem Wetke der Not der Vio- loncel-Viruosen um ein 2ugeich musitalisch werthvlles und ddankbares Konzert steuem wird"? Ahnliche Zwvefel und Be- denken wurden auch nach der erfolgeichen Londoner Urauf fihrung des Konzertes am 19, Mae 1896 mit dem englschen Solisten Leo Stem und Dvofékals Dirigent in einer Rezension der Masia Times geiuBer:. Wie beziehen uns auf cin Konzer in fmol! fir Violoncello (Mr. Leo Stem) und Orchester von der Hand Antonin Dvots(...] Wir sind eines sicher, dass das Werk als Violoncellokonzerterflgeich sein wid {-] Dvotik schrieb Soi, die zim groRen Teil berdeck sind lund von seinem Interesse an Orchesermusk in den Hinter rund gedngt werden." Diese Bedenken solten sich jedoch nicht bewahrheiten Dyojis Cellokonzet, von dem der Komponis selbst glaub- ‘te, das es seine ,beiden Konzerte, das Violinkonzert wie das Klaviekonzert bei weitem bers, verwskicht in einer besindruckenden An und Weise die Verbindung und den ‘Ausgeich von symphonischem Anspruch (den die Gattung, ‘Konzert in Dvofiks kompesitorschem Denken von je her hate) und ciner Klanglichspielersch effhtvllen, aber nie ‘zum Selbstzweck geratenden Gestaltung des Solopars, was das Werk leztendlich zu einem der ,bedeutendsten und be libtesten Repertoitekonzerte der Celsten werden lie. Fethjahe 2001, Klaus Dige‘Anmerkungen 1 Aner Skiznbucs 5, $1, Mazeur Antonina Droit, Siqatoe NCH 1677, de Szirg in dee fir Dvoik lichen Form der asummnenhngenden Skene" umGat de Scien 1-22; nur Quclenbeschrbang Jel Burgas, oie Dio Thematic Verse ~ Bibigrpbe ~ Obi des Leen nd des Werks, Pag 21996, S318; 2 Dvds Abe proses vg) Klos Digs, Dei. Leer ~ Wee ~ Doamet, Main 7997, S03-420. Zar Ensehung des Konzenes vl such Jan Smaceny, De Clb Cone, Cambridge Music Handbooks, Cambridge 1999 2. Museum Antonina Dvoie, Sign. MCH 1398 3 Dae 8 nora vel na tnard vNew Yok agape Pao 5.102 4 Zapl’ pan Bb! / Dokonteno v New Yorks / doe 9 tors 1295 v den narnein nalebo Outla/ Rio vsoboe 11% hod autogaphe Panta S. 1074 5) Bi an Fits Strock vom 3. Otber 1895, tet nach Ae ton Dect Keropondne wad Dou, Kec Ausgabe tg. von Milan Kuna, Pag 1989, Bd. 3, 5.422 (= Doo. Kor repondene 3/422) 6 Bre an Fite Simrock worn 20. September 1895, Doi, Kes ponds 3/92) 1 AUMZ.vorn 31. Jas 1896, . 67 8 We refer t 4 concerto in B minor for Vicloncllo (Mr. {co Stem) and orchestra, fom the pen of Antonin Dro. ‘We are by no means sue that, 3 a voloncello concert, this work wll become 2 favourite. (J Dvotdk had writen soli ‘which are a good desl covered up, 35 well as elipsd in intrest by the orchestral music” The Masial Tins, 1. Apel 1896, 5.239 9 Bie an Josef Bobusl Foentervorn 11. Marz 1895, Doo Korespondews 3/386; dewche Uberstaung itt nach Joset Bohuslav Foester, Der Pier. Brimenengn ces Mase, sg von Frantk Pla, Prag 1955, 5.496 10 Hane Engl, Das IsrumentaBionert, Leisig 1982 8.525, Preface ‘The Violoncello Concerto in B minor Op. 104 was the last work that Antonin Dvotike composed during his stay in Ame- sca (September 1892 ~ April 1895) I-was also the composers last work on the concerto gense, which played only a minor role in his oeuvre and had last aroused his interest in 1879/80, when he wrote the Violin Concerto Op. 53. voit began with the composition of the Cello Concerto con 8 November 1894 inthe Fh American Skaciboo!. At fis, fhe was chiefly intent on sketching the fst movement, which ‘was originally in D minor. He broke it off afer about 50 bars, [began anew with the same theme, now in B minor, and wrote the whole mavement at one go. This work phase as included the penning ofthe beginning ofthe second movement, called Lento, as well 28 ofthe fist bars of the finale, on a separate sheet dated New York, 16 Novonber 18942 Dvottk did not ‘continue working on these two sketches right away, however, bt laid them aside in order to orchestrate and elaborate the score ofthe opening movement, which took place between 18 [November and 12 December 1894. Only aftr this did Dvotak retum to the sketch of the second movement. No doubt moved by the heartbreaking letters of his incuraby ill sister indaw and onetime piano pupil Josefina Kounicovs, he now incorporated, asthe theme of the middle section (solo, bas 42), a variant of the vocal melody of the frst bars from the song “Last mich allein in meinen Trdumen gehn" [Leave me alone’ - "KE duch moj sim”). Written in 1887/88, it was Kounicové’s favorite song. He completed the sketch ofthe second movement on 15 December 1894 and im mediately put it into score (t was completed on 30 Daczmber 1894), On New Years Day 1895 Dvotdk took up the sketch of the third movement and began wating it out in score only 11 days later, on 12 January 1895, He hal reached bar 386 by 8 February (note in the lower margin of the score: “Today, 8 February, great fost and blizzard in New York”). He Finished writing the sore, thus completing the principal phase ‘of the composition, the following day. In the score he jotted down the words “Thank God! Completed in New York fon 9 February 1895, our (son] Otaka’s birthday, Saturday smoming at 11:30." Upon his return to Bohemia in Apa 1895, however, he subjected the piece to a numberof revisions and seworkings. This chiefly involved the solo par, which Dvotik went over with his fiend Hanuf Wihan, the Prague cello virtuoso. He accepted several improvements suggested by the experienced cellist (who even entered some performance alter native into-the autograph score-himself), and incorporated ‘them into the work. Also subjected to a revision was the end ofthe finale (bars 449ff), which originally comprised only the Jast four bar ofthe solo and eight closing bars ofthe orchestra (the firs four of which were based motvically on a diminished form ofthe head of the main theme). The new, lengthier ver sion dated Pik 1J.6.1895 contained reminiscences ofthe main theme of the opening movement as well 2s 2 quote from the song theme ofthe second movement. The idea for the quotes and allusions seems to have been triggered by the death of Dvolik’s sisterindaw Josefina Kounicové on 27 May 1895. Surrounded by echoes of the fist movement, her theme re turns once agin, but ina compositionally and instrumentally altered, more sziking treatment (descant register without bass solo violin). The composer once described it as follows: “The finale closes in a gradual diminuendo, like a sigh, with remi- niscences ofthe first and second movements, After the solo fades away to piaissimo there isa crescendo, and the orche- stra begins the lst bars before closing in a tomy mood” > Bars 166ff and 293 ofthe fist movement were the object of the final revision which must have taken place inthe days between 21 and 25 September 1895, which Dvordk spent with friends at Ludany Castle, where “much music was made” including “the concerto with Wihan”£ A proficient pianist who had played the piano pat of his Piano ‘Tio in F minor Op. 65 in concen several times, Antonin Dvotik also made bis ovm piano reduction of the Cello Con- certo ashe had done with several ofhis other great works, Thispiano score had been requested by Dvoté’s publisher Simock in Belin, The autograph manuscript for the source description se the "Kstscher Bericht") contains the orchestral partredued fo the piano but without the solo part witen out independently. I bears the dats: Vsoké 99.1895 (beginning date Movement I, Vokd 129.1895 (completion date Move- sent D, Vk 169.1895 (completion date Movement I) and [Na zémbu Litanshom doe 25. Zi 1898, (At Lutany Castle con 25 September 1895} (completion date fnal movement) Dyotik also had a copy ofthis reduction made in October 1885, which served asthe engravers copy for theft eition ofthe piano reduction published by Simrock. The new ed tion was announced in the Signa fr de Mustache Wal of 17 January 1896. However, the question was occasionally nsed aso “whether the Bohenan master wll be satisjng the needs of cll vitwosos by offering them a work that is both musi vital and gratifying” Similar doubts and servations were expresied in a review ofthe Mil Times afer the suc cesful London wodd premiere ofthe concerto on 19 March 1896 with the English soloist Leo Stem under the direction ofthe composer himself ‘We refer toa concen in B minor for Violoncello (Mr. Leo Str) and orchesta, from the pen of Antonin Dvoak[.. We ae by no means soe that a 2 violoncello concent, this work will become a favouite.(.} Dyotak had writen soli which area good del covered up, a3, well 2s eclipsed in interest bythe orchestral music”® Fortunately, these reserations were soon to be dispelled, ‘Duo hirself fl that his Cello Concerta “widely surpassed ‘both the violin and the piano conceros"? The work impres sively fuses and harmonizes the symphonic premise ~ which the conceno genre had always claimed in Dvoi’scompor Stional philosophy ~ witha solo part that makes an impact through it sound and technique bu chat never merely be comes an end in ise Is these factors which were ulate Iy responsible for making the work oe of the “most important and beloved concertos inthe cls’ repertoire” Spring 2001 Kaus Doge Notes 1 Amesican Sketchbook 5, p. 1, Muzeum Antonina Dota, call number MCH 1677; the sketch inthe form of the “connected sletch” typical of Dvok comprises pages 1-22; forthe source description se Jarmil Burghause, Antonin Doohék Thatcher Vezis ~ Bibgrapbie ~ Obeicit des Leben wd des Wore, Prague, 71996, p. 318; for Dvoiik’s work method see Klaus ‘Dage, Devi. Leben ~ Woke ~ Dolamene, Maine, 1997, ‘pp. 403-420; for the genesis of the concerto see also Jan Smaceny, Deo: Cello Cones, Cambridge Music Hand- books, Cambridge, 1999 2. Musetm Antonina Dvotia, cll no. MCH 1398 3. "Danes 8. nora vei ima a blizeard » New York" autogapa score p. 102 4 “Zaplat pan Bik! / Dokonteno v New Yorks / de 9 nora 1895 / ¥ den marooenin nafeho Oxia / Réno v sabots 11 hod’, astogzaph score p. 1072 5 Leer to Fitz Simrock of 3 October 1885, quoted ater: Ante Deokik Koripondons sud Dokument, Crtcl Edition by Milan ‘Kuna, Prague, 1989, Vol 3, p422 (=D Kerespondee 3/422) 6 Lene to Frits Simrock of 20 September 1895, Deo Keres pondene 421 7 AMZ of 31 Janay 1896, . 7 8 The Mica Ties, | Apel 1896, p. 239 9 Lener to Josef Bohuslav Foenser of 11 March 1895, Dookik, Korspondecz W386 10. Hans Engel, Das Fsromentdonzer, Leipzig, 1982 p. 525ennai oni RANA ae Orchesterbesetzung 2 Fléten (2. auch Piccolo) 2 Oboen 2 Klarinetten 2 Fagotte 3 Homer 2 Trompeten 3 Posaunen Tuba Pauken Triangel Stecicher Auffihrungsdauer twa 40 Minuten ‘Dazu kiuflich lieferbar: Partitur PB 5290 Orchesterstimmen OB 5290 Studienpartitur — PB 5379 Orchestral Scoring 2 Flutes (2nd also Piccolo) 2 Oboes 2 Clarinets 2 Bassoons 3 Homs 2 Trumpets 3 Trombones Tuba Timpani, Triangle Strings Performing Time approx. 40 minutes Available for sale Score PB 5290 Orchestral parts OB 5290 Study score EB 5379Konzert fiir Violoncello und Orchester b-moll [ Rlaverauszs | Antonin Dvotsk op. 104 _ Kino vom Konpoiven herausgegeben voa Klaus Doge Allegro J = 16 Violoncello LLM ce) Ob Breitkopf 8696 © 2001 by Breitkopf & Hartel, WiesbadenKonzert flr Violoncello und Orchester _ h-moll [ Klavierauszug Antonin Dvotik op. 104 uses | sdincnatag roe enpten Teasgepeen von Rus De Allegro J = 116 cae eee Edition Breitkop£ 8696 © 2001 by Breitkopf &e Harel, Wiesbadenfrei Brcihop ER 8656Un poco sosten. $5 ritard, in tempo rf za —=\p Ey ea leeatleeas ‘Sr — mhSe. Hb Quasi improvisando F rial ie Breit EB 8636 Venn esanters Ss NESr Vi ethe ss Pe Bb —r erererrirrerrere Peds oe Shee ate se a pe geese ee Becithopt EB 86966 1 . pa-erereet teste eee fio a ATO oo: Kft, Et Bee ———— as ar ~ AAP “4 = paeeeet iE oe Wepre 7 =F ape [oO Ty ae z —8— te — its ee f ¥ = f ot he Se SPS = a = ea * : ieee ete te. gekls Bae - SS ° 1 YeoS v apa s = os We te = oe mie 5: i SS Se a — «neath Bee (cee er err 8 eee in gt (EE > 2 en pli eines £ ce __ SES ooo ea ss SSE (ffl ie basa bam Ha = = fra in tempo = 100 (eu _Ltf} Sy ; Pp lee « mola sexenato *Vatiante von A und $ / variant from Aand S Brith EB 8696(if re z= S55 = = = + ppPskoe ca Zs gta Ee fe Sgises oo es ee | alee SS laya-#—F-6 = Fig fo igi = gf _¢ _ “Sr animato Ga a —*- = =" Feninaio + SS ae oe ar ae crese, =| ae 2g F | ___— os = oS ogee ao = pe ee ee Ftp te fi On teint Es. = =. a Se ae mo ay J 1 ~ _ BreithopF EB 8606aia fe portamento ‘af legglerecamabile Pp tranquillo BreitkopF EB 8696Tani HBL a Hn VenKb, pins 3 7 Ye. Kb. pie Breit EB 8696Zepe cy Moltoritard. m HGrandioso ED pes 2) oe av BrithopF EB 8696BreithopF EB 8696poco ritard. 219 Molto sostenuto in tempo 4 = 100 mola espresso eosiento Brchopt EB 8696Animato oe ) A) A) 8) po Ona 2) 2) .8) 22) ‘doe ed animate 0 = —— i — op tle edna Brcithop EB 8696Varian von $/ * Vane inalon Galen ant inal ues | cep EB 496molto expres evostenato ei $s Se. 4 ‘molto espress, e sastenuto = > rs Bithop EB 8696Ve. Ki pix | molto rit. In Tempo 4 = 116 aN ies 1D Get GED GED Ga HDG j 47d ge ea 5 2 2 Gali Pap csr cat n,n APRA Gt aa Pe i : fee Becton EB 869618 jy te ug GED dd frre tte fri prein Taine # = Brcko E8696Brcihopt EB 8656‘393 P Molto appassionato fF oll Baad bit Brihop EB 8696Pid: mosso J = 132 * sche Kritischer Bericht / see “Kritischer Bericht” BrihopF EB 8696 a Sp spiccato AAAS ) a| molto ritard. Tempo IJ =116 5 TH Grandioso rz 7 Bring FB 869623 I Adagio ma non troppo = 108 Brcithopf EB 8696poco aceel, ola epresivo Brcihop FB 869657 Unpoco pitt animato 7, ‘ppassionato Ve-pia Brethopr EB 869627 poco a poco ritard, D_ Meno. Tempo I eet = a ~ ‘= Brithop FEB 8696Breitop EB 8696fF —_ ‘alo appassionaio A. = a anf appassionato Beco EB 2696Brcihopt EB 8696eo 4 poco a poco string. BrithopF EB 8696I LL > BS TTT | (ei) oH molto erase 1 avoeeedudeeeddddded sovvevsdddesroToTy con Ped. a, ay SS, = SS == p= = Et Gedesdddeddd vodeddvdesss o BreikopEB 8696is, a Eee In oe efte «fees = woice ppp tranguillo ‘ranguilo Co Breitop EB 8696‘pmorendo Finale Allegro moderato 4 = 104 se, | fp poco a poco crese. Breikop EB 8696oy as Fe. Ve. pi, i, Bb. Brithopt EB 9696Becithopt EB 86961,06, Kl 1, 0b, KI 16 = $: z i SS Bid BrcithopF EB 8696[molto] string. 139 molto rit. 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EB 9067 ‘era mt Vastonen op. 28 Fanny Hensel ameea es exe | 2’ Sticke abou, 0 575 Yatatonen dr signe hems op. 15 Paul Hindemith ford vole en oaz | “bre stacte op 8.2 ete fe sous coe Breitkopf A3 Hartel Jl l) NN 181102ANTONIN DVORAK (1841-1904) Konzert Concerto fir Violoncello und Orchester _ for Violoncello and Orchestra h-moll in B minor op. 104 herausgegeben von /edited by Klaus Dége Solostimme eingerichtet und kommentiert von / Solo Part arranged and annotated by Heinrich Schiff Violoncello f BREITKOPF & HARTEL | WIESBADEN - LEIPZIG - PARIS Edition Breitkopf 8696 | Protein GermanKonzert fir Violoncello und Orchester | h-moll Ta Antonin Dvofik op. 104 Violoncello solo ‘erausgegeben von Klaus Doge ingeceet von Hei Sait Un poco sostenuto Allegro d=116 , Grandioso ritard. in tempo 22 Tempo Id = 116 2 Boom 4 as 7 Quasi impror 82 vir 3 yomoy rina = 4 pesante ff an 2a pe j Edition Breitkopf 8696 © 2001 by Breitkopf & Harel, WiesbadenVioloncello solo 107 yin oe 3 D Tempo 1d = 116 2 2 29 oe, de fp vivo Bk P spiccato 1 : Set _ eg lie. 7 =i=- - j =o == =f fenza a Brcithopt EB 86964 Violoncello solo in tempo J = 100 Ye tem ore te ee === Sa Tak animato ritard._ _ ce vo ~F 3 2222 = SS Fanimato YS t dim.eriard - — Tempo Id = 116 isp, 8333 gua ST OP SS Ne 162, Sa ea 23 168) 23 eee e138 923 oe OFT Cie eT PE Se Nie Se Becihop EB 8636Violoncello solo 5 portamento 66 Tag Fy STS == inf leggiero & cantabile ped BN 2M 0, WES Othe eee Stig BE edieot fecon forza f f f f= q ir 4g 2 pt eee en BSS z FS eS = 2c £ 3 £ fe > H my rere eee gean Grandi ag Tan Ga I . > Se * pesane 2 OF Breithop EB 86966 Violoncello solo K Molto sostenuto ‘A. intempo d = 100 A y i bebe bo. poco ritard. So inf’ molioespressivo esostenuta Bihopr EB 8656Violoncello solo Breit EB 8696290 Violoncello solo == mf cantabile Brethopt EB 8696Violoncello solo cs een ae ee bE. - a == 7 “BP dolce Eis |» * \< it TT Tb | Tris ») ii In tempo Grandioso 1 Brcthopf EB 869610 Violoncello solo Me mato P Molto appassionat 523A a 292 Sf coll’ 8.0 ad libitum 7 fe spiccato ‘Tempo I J = 116 eS Grandioso Brcithop EB 869%Violoncello solo iW Il Adagio ma non troppo 2 = 108 Poco accel. => <> <5 Breihop EB 86962 Violoncello solo eS fi Fiseo iN 2 == ‘molto espressivo Meno. Tempo T ‘ i 4 v og Un poco pit 2 animato veginte PRE? PR ERES Pita appassionato f . *f Breihopt EB 8696Violoncello solo 13 aS ee eee 2 a 7 = 7 ee ais OS Bcihop EB 86964 Violoncello solo aS 2 oc =~ ge SEE Eee SS ea ae Fre : Bor Bs eo ddim. = D s range Finale Allegro moderato J = 104 vid : os BrithopF EB 8696Violoncello solo 15 BrithopF EB 869616 Violoncello solo [molto] string. 138 molto rit. n 4 1 D Poco ae mosso ee ” = = = 5 Fa =k - 3 = tS eS —— in 3 3 nage = = 2 FS == H Steer El fogentea peat ee sesaeg = = Ff = poco a poco accel. m ‘ - “, Breihopt EB 8656Violoncello solo W a ee Yeanees tie eet eet iePeeetek, par tievit ett eo Ee b—te a == Fin tempo a ritard. P 4 poco a poco Andante vit H ae & Od, Brihopt EB 869618 Violoncello solo Moderato J = 84 re a A ee vary ee dolce Tempo I J = 104 30 Bo ee y K intempo d = 101 au phe “pte bt spiccato BP Brcithopr EB 8656Violoncello solo 19 a tempo J = 104 tht 347 4 2 ft it Af molto espressivo 358 2 2 2 32 wa molto ritard. 2 eae 5 367 nek a 8 a4 4 Fa SS are eee 398 og ' me ey 2) fpspiccato 409 3 of f risoluto Yoa pocoritard.¥ 2 & 3 % intempo ay F 44 : 3 BrithopF EB 865620 Violoncello solo a O [Pid] Andante J = 76 v 485 + 2 Sm ee molto Allegro vivo: wot, vp Andante maestoso aceelerande dein 8 pp malio crese Breit EB 8696 eee Sade