18 Recital Pieces in First Position for Cello and Piano or Two Celli-Charming collections of easy pieces in first position. Each Cello part is supported by a Piano accompaniment for student performances. Alternately a second Cello part allows duo playing with the teacher during lessons. This early introduction to chamber music brings joy and satisfaction to the young cellist and teaches the student to hear the music as a whole. The two volumes are designed as companion publications to the Early Start on the Cello method. However they work equally well as a supplement to any other Cello method. A variety of rarely published works by well-known cellists and pedagogues such as Wilhelm Fitzenhagen HugoSchlemüller and August Nölck make these publications attractive to teachers and students. The Cello Recital Album Volume 1 can be used as a supplement to the Early Start on the Cello method Volumes 1 and 2 (BA 8996 and BA 8997). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound. The Cello Recital Album Volume 2 can be used as a supplement to the Early Start on the Cello method Volumes 2 and 3 (BA 8997 and BA 8998). The 12 pieces in Volume 2 are structured to follow the same progression of finger patterns introduced in the Early Start method Volumes 2 and 3. The later repertoire in this volume includes a careful introduction of downward and upward extensions.

arranged for cello and piano-Classical Highlights presents the best-known and most popular performance pieces of the classical repertoire in arrangements for cello and piano. Every cellist looking for a popular classic for teaching or performing purposes will make a find here.

The autograph score of Lalo’s much played concerto is lost. Written in 1876 the only remaining sources are the first edition score and parts as well as the autograph Piano reduction by Lalo. Hugh Macdonald the highly acclaimed editor of French music has discovered that Lalo’s Piano reduction was used as a working score by Lalo himself. He continued to make alterations to the work in the reduction even after the work was officially published. These changes provide for many corrections in the solo part as we know it but also call for some orchestral passages to be re-orchestrated to match up with Lalo’s finalalterations.First ever critical edition of this romantic masterpiece.Preface in English / German / French.Score orchestral parts Piano reduction.First ever critical commentary (Eng) integrated in the score.Full score and parts (BA6999) and Cello & Piano reduction (BA6999-90) available for sale.

Soon after its composition in 1886, Camille Saint-Saëns asked Auguste Durand that Le Carnaval des animaux, which he thought of as a parodic fantasia, should only appear in print posthumously. He probably believed that this entertainment would tarnish the seriousness of the rest of his oeuvre. The Carnaval was therefore published in February 1922, two months after the composer's death. Nevertheless the composer contravened the restrictions he had imposed: in 1886 Charles-Joseph Lebouc obtained the authorization to make and publish a transcription for piano and cello of the penultimate piece in this musical bestiary: no.13, Le Cygne . This arrangement, which became a bravura piece for cello, was an immense success each listener compelled to imagine a majestic swan gliding across a lake , a success which Saint-Saëns was obliged to accept. / Violoncelle / Durand

Felice Maria Picinetti is one of those composers who did not make a lasting mark on the history of music. He is believed to have been active as a cellist in Dresden around 1733. His cello sonata hints at a lively temperament and a solid training in the Baroque sonata da chiesa style. It affords cellists a welcome opportunity of performing Baroque music as a soloist instead of as a continuo player.

Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano

For fans of the popular TV series Downton Abbey Christmas Day 2012 came to a sad close as they witnessed the death of the well-loved character Matthew Crawley. This piece by Mats Lidström was composed in response to the shocking season finale and seeks consolation for what had just unfolded on the screen. Composed for Cello and Piano  Lamenting Matthew Crawley also makes the perfect encore due to its romantic tone.

Brentwood-Benson Music Publications presents Vol. 4 in its Instrumental Worship Series with I Could Sing of Your Love Forever: 12 instrumental duets for piano and cello. These tasteful, worship-centric arrangements by Christopher Phillips, Music Director at Christ Church Nashville, are perfect for offertories, postludes, or as intimate, stand-alone performances. With a focus on flexibility, these inspiring arrangements also offer the solo instrumental part transposed to include C instruments (Violin/Flute/etc.) and Bb instruments (Trumpet/Clarinet/etc.).As an added bonus, this folio comes with a complete demonstration listening CD which can be used both as a reference recording for your rehearsals or simply for your own listening pleasure and quiet times of reflection and worship.Further enhancing the value and usability of this featured publication, a CD Piano Accompaniment Track is available as a separate purchase. This enables the solo instrumentalist to perform these arrangements without the need of live piano accompaniment. / Violoncelle Et Piano