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The du Pré Legacy
Seven Solo Pieces
By Jacqueline du Pré

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Chamber Music Cello, Piano
Seven Solo Pieces. Composed by Jacqueline du Pré, Maria von Paradis, Johann Sebastian Bach (1685-1750), Robert Schumann, Camille Saint-Saens (1835-1921), Max Bruch (1838-1920), Gabriel Faure (1845-1924), and Edward Elgar (1857-1934). Edited by Marion Feldman. SWS Main/Insert. Set of Score and Parts. With Standard notation. 76+28 pages. Carl Fischer Music #BF110. Published by Carl Fischer Music (CF.BF110).

Item Number: CF.BF110

ISBN 9780825835766. 9 x 12 inches. Text: Eugenia Zukerman.

Cello legend Jacqueline du Pré (1945—1987) has a timeless musical voice.Best remembered for her recording of Elgar’s Cello Concerto, du Pré’srepertoire spanned from Bach to Bruch. Marion Feldman has selectedseven works from du Pré’s repertoire for this collection, providingeditorial guidance and transcription of du Pré’s fingerings and bowings.Of special interest is a transcription of du Pré’s Elgar Concerto, observingattention to detail of her performance. Also included is Fauré’s Elégie,Saint-Saëns’ Allegro appassionato, Bach’s Arioso from Cantata No. 156,Schumann’s Fantasiestück, Bruch’s Kol Nidre, and von Paradis’ Sicilienne.Included are numerous exclusive photographs and recollections of duPré from Eugenia Zukerman. The fourth in Carl Fischer Music’s CelloLegacy series, this volume is a much anticipated gem for cellists and fansof Jacqueline du Pré.
I am now into the fourth book of our Legacy Series which has far surpassed mydreams. I visualized it as a series which would keep alive the names, life and cellisticwork of some of our most important cello “ancestors.” Working on this extended projecthas brought me closer to these important cello mentors. Meeting with friends, studentsand relatives of each has brought a more personalized view. The interviews have evolvedinto a way of seeing the impact each artist had on his close circle of friends and family.This also gave me access to pictures and materials that had not been published before.The manuscripts in Feuermann’s own handwriting which Marika Hughes allowed us touse in the Feuermann book were a remarkable source that had never been seen before.The pictures, letter and recollections from Eugenia Zukerman in the du Pré book werealso materials that had never been published before this. Tim Janof ’s interviews in theRostropovich Memoriam were great materials that, although available on the internet,had rarely been seen by many cellists. The photos and aid from Marta Casals Istominadded so much impact to the first book, The Casals Legacy. In this book, The du PréLegacy, my idea was to transcribe Jacqueline du Pré’s bowings and fingerings for theElgar Concerto. I used a well-known video with Daniel Barenboim conducting. This wasa challenge and a larger job than I had anticipated, but it was rewarding to explore whather choices had been. It took many arduous hours checking the video to make sure Ihad seen the details correctly. However, it was worth the effort, because so many peoplehad anxiously waited to see them in print. I thank David Dutkanicz, the productionmanager at Carl Fischer, who has so enthusiastically continued to support my vision andwithout whom the Legacy Series would never have come into existence.

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