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Concerto Cello B Flat Cello Piano Synthetic Work By Gruetmacher G565 480 482
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Book Synopsis Concerto, Cello, B Flat. Cello & Piano. Synthetic Work by Gruetmacher (g565/480/482). by : Luigi Boccherini
Download or read book Concerto, Cello, B Flat. Cello & Piano. Synthetic Work by Gruetmacher (g565/480/482). written by Luigi Boccherini and published by . This book was released on 1895 with total page pages. Available in PDF, EPUB and Kindle. Book excerpt:
Book Synopsis Luigi Boccherini's Cello Concerto in B-Flat Major, G.482 by : Hyun Mi Cho
Download or read book Luigi Boccherini's Cello Concerto in B-Flat Major, G.482 written by Hyun Mi Cho and published by . This book was released on 2019 with total page 79 pages. Available in PDF, EPUB and Kindle. Book excerpt: The Cello Concerto in B-flat major, G.482, by Italian composer Luigi Boccherini (1743-1805), is the composer's most beloved work for the instrument, as well as one of the most performed pieces in the Classical concerto repertoire. Historically, cellists performing this work have used an edition prepared by German cellist Friedrich Grützmacher (1832-1903). However, an 'original' version that was discovered in 1949 is significantly different from that of Grützmacher. A comparison of both editions has revealed that Grützmacher in fact made considerable modifications to Boccherini's 'original.' Along with the issue of having two editions, cellists that have played the 'original' edition have noted that there are certain practical and interpretative matters that are not favorable to the cellist, particularly in terms of the way the music is notated and how it lacks many details. This dissertation provides clarity to these issues by undertaking a comprehensive analysis of both editions in order to make cellists become aware of the differences between both editions by comparing musical elements from a performance practice viewpoint. In addition, I discuss relevant issues that are present in the 'original' version, ultimately providing an alternative performance edition to this score that is based on historically informed performance (HIP) practices. Finally, I hope to draw attention on how a performance edition like this can be useful as a rare critical source to one of the major works from the eighteenth-century cello repertoire.