Original Version - Edition for Cello and Piano. Schumann?s Cello Concerto Rediscovered. In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?Concertstück? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in Kraków. It is presented in a beautifully printed edition for cello with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Matching orchestral material available separately from Edition Peters Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in Kraków, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a Concertstück and restores Schumann?s musical text, free of posthumous interventions. It is presented in a beautifully printed edition for cello, with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.?

Written in just two days in February 1849, Robert Schumann's Fantasy Pieces Op. 73 were first performed by his wife Clara and the clarinettist Johann Gottlieb Kotte. Initially entitled Soirée Pieces, the composer later had the works published under the name of Fantasy Pieces, thus establishing a connection with poetical aspects. The first edition published in July 1849 contained not only a clarinet part but also a violin and cello part. Since then, they have become an integral part of the Romantic repertoire for cello and piano. This edition is based on the text of the first edition as well as on subsequent corrections from Schumann's personal copy, with the extant composition manuscript serving as an important corrective. / Violoncelle Et Piano

These Fantasiestucke or Fantasy Pieces - a title denoting short and expressive pieces without a specified form - were originally written for clarinet and piano; Schumann himself later made arrangements of this work for cello and for violin. The piano and clarinet parts are notated in the score of this edition; however the solo alternative cello part is also included on a separate insert.

Stücke im Volkston op. 102-A selction of pieces by Schumann for Cello. Fantasy Pieces Op.73 / Adagio & Allegro Op.70 / Pieces in Folk Style Op.102. Edited by Gr?tzmacher. For Cello with Piano accompaniment.

Op 102-Although Schumann had learnt the cello for a while in his youth he only began to compose for this instrument in later life. Apart from the cello concerto only his Five Pieces op. 102 have survived as original works for thecello. Clara was delighted with them: 'These are pieces in folk style with such a freshness and originality that I was enchanted'. The 'Neue Zeitschrift für Musik' wrote: 'These pieces are less apt for a virtuoso player than awell versed one who can speak on his instrument with tone and meaning.' This edition in the best Urtext quality is particularly to be recommended for teaching purposes and for making music at home.

Transcribed For Cello And Piano By Bellisario. Par SCHUMANN ROBERT. Violoncelle - Piano/ Répertoire / Violoncelle et Piano

Ed. Otto Deri. 17 pieces appropriate for recital or contest use. Contents: Allegro Maestoso (Handel) - Allegro Spiritoso (Senaille) - Andante (Beethoven) - Andante (Gluck) - Aria (Lotti) - Bourrée I (Bach) - Country Dance - La Cinquantine (The Golden Wedding) - Larghetto (Handel) - Lento (Schumann) - Lullaby - Menuet (Mozart) - Nina (Pergolesi) - Romance - Sicilienne (Debussy) - The Swan (Saint-Saëns) - Village Song (Popper)./ Recueil / Violoncelle et Piano

Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Violoncelle et Piano

EDITION URTEXT Compositeur : Schumann, Robert Instrumentation : Vlc,Klav Nombre de pages : 40

Sonata in F major op. 6 for Violoncello and Piano. Aside from the Piano Quartet op. 13 and the Violin Sonata op. 18, the Cello Sonata op. 6 numbers among the most mature works of chamber music from Strauss? early ?uvre. The influences of Mendelssohn, Schumann, and Brahms are noticeable, while leaving sufficient space for a very personal tonal language, often with surprising rhythmic and harmonic turns of phrase. Strauss subjected the first version completed in early 1881 to a radical revision over the winter of 1882/83; the opening movement was thoroughly reworked, the two subsequent movements rewritten completely. It was worth it, because after the premiere in Dresden, the composer wrote to his mother, ?My sonata garnered extraordinary acclaim, the applause was enormous, congratulations came to me from all sides.?

Accompaniment CD for the folio featuring 17 pieces appropriate for recital or contest use. Contents: Allegro Maestoso (Handel) ? Allegro Spiritoso (Senaille) ? Andante (Beethoven) ? Andante (Gluck) ? Aria(Lotti) ? Bourrée I (Bach)? Country Dance ? La Cinquantine (The Golden Wedding) ? Larghetto (Handel) ? Lento (Schumann) ? Lullaby ? Menuet (Mozart) ? Nina (Pergolesi) ? Romance? Sicilienne (Debussy) ? The Swan (Saint-Saëns) ? Village Song (Popper).

Contenu CAIX D'HERVELOIS Louis : Menuet - MENDELSSOHN Félix : Confiance - FORQUERAY Jean-Baptiste : La Du Vaucel - CAIX D'HERVELOIS Louis : Gavotte - ALBENIZ Isaac : Tango - MARAIS Marin : Sarabande - SCHUMANN Robert : Chant - NATHAN Ernest : Tema con variazioni - AZAIS Pierre-Hyacinthe : Allegro - AZAIS Pierre-Hyacinthe : Presto - MARAIS Marin : Caprice - MARAIS Marin : Gigue - CAIX D'HERVELOIS Louis : Sarabande - ABEL Karl Friedrich : Allegro - MUNTZ-BERGER J. : Fantaisie - TCHAIKOVSKY Piotr Illitch : Valse