The Du Pré Legacy Seven Solo Pieces for Cello and Piano the Du Pré Legacy Cello Legend Jacqueline Du Pré (1945—1987) Has a Timeless Musical Voice

BF110 The du Pré Legacy Seven Solo Pieces for Cello and Piano The du Pré Legacy Cello legend Jacqueline du Pré (1945—1987) has a timeless musical voice. Seven Solo Pieces for Cello and Piano Best remembered for her recording of Elgar’s Cello Concerto, du Pré’s Featuring the Elgar Concerto with Fingerings and Bowings by Jacqueline du Pré repertoire spanned from Bach to Bruch. Marion Feldman has selected seven works from du Pré’s repertoire for this collection, providing Edited by Marion Feldman editorial guidance and transcription of du Pré’s fingerings and bowings. Of special interest is a transcription of du Pré’s Elgar Concerto, observing attention 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 du Pré from Eugenia Zukerman. The fourth in Carl Fischer Music’s Cello The du Pré Legacy Legacy series, this volume is a much anticipated gem for cellists and fans of Jacqueline du Pré.

More Carl Fischer Cello Legacy Editions Feldman — ed.

The Feuermann Legacy The Casals Legacy Rostropovich: In Memoriam 6 Solo Pieces 10 Solo Pieces from Pablo Casals’ Repertoire 9 Solos in Honor of the Maestro’s Legacy from Emanuel Feuermann’s Repertoire Compiled and Edited by Marion Feldman Compiled and Edited by Marion Feldman BF93 – Cello & Piano BF60 – Cello & Piano BF76 – Cello & Piano

ISBN 978-0-8258-3576-6 UPC www.carlfischer.com

BF110

BF110cvr.indd 1 9/4/15 3:31 PM The du Pré Legacy Seven Solo Pieces for Cello and Piano Featuring the Elgar Concerto with Fingerings and Bowings by Jacqueline du Pré Edited by Marion Feldman

Table of Contents Cello Piano Acknowledgements ...... 3 Preface...... 3 About Jacqueline du Pré by Marion Feldman...... 4 About Marion Feldman...... 5 Recollections of Jacqueline du Pré by Eugenia Zukerman...... 6 About Eugenia Zukerman...... 7

Allegro appassionato Op. 43 for Violoncello and Piano Camille Saint-Saëns ...... 13 ...... 37

Arioso from Cantata No. 156 (Ich stehe mit einem Fuß im Grabe) for Violoncello and Piano ...... 20 ...... 60 Johann Sebastian Bach

Concerto in E Minor Op. 85 for Violoncello and Piano Edward Elgar with Fingerings and Bowings by Jaqueline du Pré ...... 2 ...... 8 Adagio-moderato Lento-allegro molto Adagio Allegro

Elégie for Violoncello and Piano Gabriel Fauré ...... 22 ...... 64

Fantasiestück (Fantasy Pieces) Op. 73 for Violoncello and Piano Robert Schumann...... 16 ...... 43 Zart und mit Ausdruck Lebhaft, leicht Rasch und mit Feuer

Kol Nidre Op. 47 for Violoncello and Piano Max Bruch...... 24 ...... 70

Sicilienne for Violoncello and Piano Maria Theresia von Paradis...... 21 ...... 62

Copyright © 2015 by Carl Fischer, LLC International Copyright Secured. All rights reserved including performing rights. WARNING! This publication is protected by Copyright law. To photocopy or reproduce by sampleany method is an infringement of the Copyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement. BF110 Printed in the U.S. A. ISBN 978-0-8258-3576-6 2

Pinchas Zukerman and Jacqueline du Pré (Photo courtesy of Eugenia Zukerman)

Acknowledgements I would like to express my deep appreciation to Eugenia Zukerman. Without her recollections we would be missing an important element of who Jacqueline du Pré was as a performer and a person. The letter she allowed us to include in this volume was one of many correspondences they had from 1967 until Jackie’s demise in 1987. Also, thanks to Eugenia’s generosity we were able to include some of her personal photos taken while on tour with the trio (Pinchas Zukerman, Jacqueline du Pré and Daniel Barenboim). I would also like to thank Daisaku Ikeda, President of the Soka Gakkai International for his personal encouragement to continue the development of this series of books and through it my determination to connect future generations of youth to the grand legacy we share as musicians and cellists. Thanks also to Jessica and FangLiu Chen who have continued to inspire me to reach out all over the world and help young people develop their interest in and talent on the cello. They have been an important link to introducing my books in Taiwan.

Preface I am now into the fourth book of our Legacy Series which has far surpassed my dreams. I visualized it as a series which would keep alive the names, life and cellistic work of some of our most important cello “ancestors.” Working on this extended project has brought me closer to these important cello mentors. Meeting with friends, students and relatives of each has brought a more personalized view. The interviews have evolved into 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 to use 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 were also materials that had never been published before this. Tim Janof’s interviews in the Rostropovich Memoriam were great materials that, although available on the internet, had rarely been seen by many cellists. The photos and aid from Marta Casals Istomin added so much impact to the ﬁrst book, The Casals Legacy. In this book, The du Pré Legacy, my idea was to transcribe Jacqueline du Pré’s bowings and ﬁngerings for the Elgar Concerto. I used a well-known video with Daniel Barenboim conducting. This was a challenge and a larger job than I had anticipated, but it was rewarding to explore what her choices had been. It took many arduous hours checking the video to make sure I samplehad seen the details correctly. However, it was worth the effort, because so many people had anxiously waited to see them in print. I thank David Dutkanicz, the production manager at Carl Fischer, who has so enthusiastically continued to support my vision and

BF110 without whom the Legacy Series would never have come into existence. 8

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