Reverie au bord de la mer (Reverie by the Sea; Andante A. 155) Cover Image

Reverie au bord de la mer (Reverie by the Sea; Andante A. 155): Cello, Solo with Piano, Solo and Piano

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Reverie au bord de la mer (Reverie by the Sea; Andante A. 155) Cover Image
Reverie au bord de la mer (Reverie by the Sea; Andante A. 155): Cello, Solo with Piano, Solo and Piano

Reverie au bord de la mer (Reverie by the Sea; Andante A. 155): Cello, Solo with Piano, Solo and Piano

By Jacques Offenbach, eds. Michael Kaye & Emilio Colon

Item: 36-M402791
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Description
In 1848, when Jacques Offenbach (1819-1880) returned to Paris from his highly successful concert tour he was hailed in Le Corsaire as "le président du violoncelle" and in Le Ménestrel as "le violoncelliste pittoresque par excellence." His own performance of the RÊVERIE AU BORD DELA MER in Paris was described as a "mélancholique et suave inspiration qu'on croirait empruntée à la muse de Schubert [a melancholy and suave inspiration that one would believe was borrowed from Schubert's muse]." The cello work is a transcription of one of Offenbach's own songs for voice and piano entitled DAS DEUTSCHE VATERLIED. This edition has been edited by Michael Kaye and Emilio Colón.

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Additional Details
Series: Master String Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-895635-28-0
ISBN13: 979-8-895635-28-5
UPC: 612735896515
SKU: 36-M402791
Instrumentation: Cello and Piano

More about this title

About the Composer: Jacques Offenbach

Jacques Offenbach (1819-1880) was a German-born French composer and cellist who fundamentally shaped the operetta genre while maintaining a parallel career as one of the nineteenth century's most celebrated instrumental virtuosos. His dual identity as both composer and performer gave him unique insight into instrumental writing, and he produced substantial works for cello that remain central to the repertoire.

Offenbach's cello compositions bridge the worlds of salon music and concert hall virtuosity. His technical mastery of the instrument informed every phrase he wrote for it, and works like Reverie au bord de la mer demonstrate his ability to craft deeply lyrical material without sacrificing musical substance. This combination of accessibility and genuine artistry is why his music continues to engage student and professional cellists alike.

Why we love this

Reverie au bord de la mer offers cellists a page-turner with immediate lyrical appeal and genuine Romantic substance. The piece carries the weight of its historical moment (praised alongside Schubert by contemporary critics) while remaining eminently playable for advancing students and professional ensembles. Programming it signals musical taste and gives cellists material that sounds both earnest and stylistically specific.

What to expect

Quiet contemplation by water. The piece unfolds with the unhurried quality of memory, moving through gentle undulation rather than dramatic gesture. Its melancholy carries warmth rather than despair, creating a reflective mood that lingers without becoming heavy.

Who it's for

Advancing high school cellists and undergraduate music majors who are ready for material that demands both technical security and interpretive maturity. Chamber musicians seeking a substantial yet unpretentious addition to recital programming will find genuine musical reward here.

How to get the most out of it

  • Shape the opening melody with a singing tone quality that justifies the Schubert comparison; let the piano introduction establish the introspective character before entering.
  • Attend to the harmonic progression within phrases rather than pressing forward metrically; Offenbach's Romantic sensibility values breath and space over momentum.
  • Balance vibrato carefully across the middle and upper register to maintain transparency with the piano part while sustaining the melancholic warmth.
  • Explore the original song version (Das Deutsche Vaterlied) in preparation; understanding the text and vocal contour will clarify the cello line's natural phrasing points.

How to use it

Pair this with a contrasting Offenbach operetta selection or other salon-era repertoire to create a coherent recital arc. It works equally well as an opening or closing piece in chamber recitals, and its modest technical demands make it suitable for student recitals featuring developing players alongside more advanced works.

Skills your students will build

  • Sustained lyricism across long phrases with minimal position changes
  • Vibrato control in the middle register for expressive depth without oversinging
  • Coordination with piano accompaniment in a Romantic context
  • Interpretive choices within a Schubert-influenced harmonic language
  • Character and style awareness specific to mid-nineteenth-century salon music

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