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.?

Like every other great 19th-century solo concerto Dvorák?s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák?s autograph score were actually written by the cellist Hanu? Wihan; but Bärenreiter?s edition now reveals that some details in the Orchestral parts are also in his writing showing just how closely the two musicians were working together.The editor Jonathan Del Mar has painstakingly examined all the surviving sources including two that have hitherto been either ignored or crucially undervalued in order to produce anauthoritative edition which restores for the first time since the original edition was published in 1896 - Dvorák?s final and definitive version of the solo Cello part. This differs in details in almost every bar from the version found in all other modern editions while hundreds of corrections have also been made to the Orchestral parts.- With Dvorák?s final and definitive version of the solo Cello part.- With hundreds of corrections in the solo Cello part as well as the Orchestral parts.- With hitherto unknown details regarding the collaboration between Dvorák and Wihan.- With Dvorák?s original Piano reduction.- With Feuermann's and Casals' alternatives to a passage in the first movement.- Full score performance material (BA9045) Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale.

extrait de la musique de scène pour « Le Voyageur sans bagages »-A previously unreleased piece by Francis Poulenc published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe secretary of the Association des amis de Francis Poulenc [Association of the Friends of Francis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage] which had been premiered in 1937 with music by Darius Milhaud was reprised on 1 April 1944 at the Théâtre de la Michodière; Francis Poulenc was asked to compose new stage music. The entire unpublished score lay undiscovered until Bérengère del’Épine a librarian at the Bibliothèque Historique de la Ville de Paris announced the existence of a manuscript in the Association de la Régie Théâtrale collection. Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs all written for a small instrumental ensemble including Oboe Clarinet Cello and Piano. However at the end of the manuscript the composer echoes the second song – Lent [Slow] – and creates another version for Cello and Piano; curiously the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for Cello and Piano that we have published here as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey accompanied by Jean-François Heisser in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP) during the symposium for the fiftieth anniversary of Poulenc’s death. Given in a dramatic context some elements allow us to get an idea of the character of the piece which Benoît Seringe Poulenc’s beneficiary judiciously chose to name Souvenirs. The main character of Anouilh’s play Gaston is suffering from amnesia at the end of World

This collection features intermediate-level arrangements for cello and piano accompaniment in a range flattering to the cello. The music has been edited with added dynamics, articulations and phrasing, making it appropriate for lessons or performances. The accompaniments have been recorded on an acoustic grand piano. Includes separate pull-out solo part. Songs include: Agony · Anyone Can Whistle · The Ballad of Sweeney Todd · Children Will Listen · Green Finch and Linnet Bird · Johanna · Night Waltz · Not While I'm Around · Pretty Women · Send in the Clowns · Sunday · With So Little to Be Sure Of. The price of this book includes a unique code that provides access to audio tracks online, for download or streaming. The tracks include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right - available exclusively from Hal Leonard.

?l?gie for Violoncello and Piano op. 24-Following the enthusiastic reception of his first Violin Sonata (HN980) it was clear to Faur? that he would continue to write chamber music. In 1880 he wrote a little piece for cello and piano that was intended as theslow movement for a sonata. However Faur? gave up the sonata project instead publishing the piece under the title ??l?gie. It was so successful that Faur? was urged by the publisher to write further pieces. Theconductor ??douard Colonne commissioned a version of the ??l?gie for orchestra in 1895 which was premi?red two years later. As usual our Urtext edition contains both a marked and an unmarked solo part.

Invocation was composed in 1911 and first performed on May 2nd of that year in the Queen's Hall London by May Mukle with the New Symphony Orchestra conducted by Landon Ronald. The work received several performances with Piano accompaniment before 1914 but with the public success of The Planets it became one of many works that Holst never had time to revise or publish. A certain amount of editing of dynamics and phrasing has been necessary and the Piano reduction has occasionally been slightly adjusted to match the orchestral accompaniment more closely. The separate Cello part has been edited by Julian Lloyd-Webber.

12 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.

Music through the Ages-These two volumes contain both original compositions and well-crafted arrangements that are presented in chronological order from the sixteenth century right up to the present day. pieces that feature on the ABRSM Cello syllabus at Grades 1 to 7 invaluable source of repertoire to explore for further study contrasting styles from Dowland to Grainger and from Couperin to Joplin arrangements that cover the note ranges and keys of the early grades As with most of the Time Pieces series students can cover all of their grade requirements from these versatile volumes.

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

Par KANNEH-MASON SHEKU. Sheku Kanneh-Mason: Song is a kaleidosope of music for solo cello, cello and piano, plus a beautiful cello duet and trio, from the award-winning and internationally acclaimed cellist. This collection presents music from Sheku?s third album, Song, which is a very personal collection that refers to the unique singing tone of the cello. Pieces include Deep River by Samuel Coleridge Taylor, Burt Bacharach?s I Say a Little Prayer and Parry?s Myfanwy, which is arranged for cello trio. / Date parution : 2022-10-25/ Recueil / Violoncelle et Piano

Cellists will love this new collection by Julian Lloyd Webber because it includes much that is new alongside well-loved pieces. Julianâ??s sense of style and careful editing will ensure that this is music that is played andenjoyed for years to come.

Born in Paris in 1899 Francis Poulenc soon became a notable composer and pianist. His Serenade originally composed in 1925-1926 for Voice and Piano met much success as part of his Bawdy Songs. Therefore it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc as a member of Les Six composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style making use of a 6/8 time signature double stops variations in articulation and wide range on the Cello.Being an imaginative and evocative composition Serenade transcribed for Cello and Piano is a pleasurable addition to the repertoire.

Par POULENC FRANCIS / GENDRON. Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire. / Répertoire d'Examen / Répertoire / Violoncelle et Piano

Category: String Series Format: Book & CD Instrument: Cello Instrumentation: Cello (with Piano Acc.) Level: Level 2-3 The arrangements in this new series were written especially for violin, viola, and cello, taking into account the specific needs of each instrument. All the arrangements are completely compatible with each other and can be played in small ensembles or as solos. Each book features a specially designed piano accompaniment that can be easily played by a teacher or intermediate piano student, and a carefully crafted removable part, complete with bowings, articulations, and keys well suited for the Level 2-3 player. Each song on the fully orchestrated accompaniment CD includes a demo track, which features a live string performance, followed by the play-along track by itself. Titles are: Diamonds Are Forever * For Your Eyes Only * From Russia with Love * Goldfinger * The James Bond Theme * Live and Let Die * Nobody Does It Better * On Her Majesty's Secret Service * Thunderball * Tomorrow Never Dies * The World Is Not Enough * You Only Live Twice.