Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the Cello part and the composer himself was his partner at the Piano. Even though the work was generally received positively it took some years until it was fully appreciated and gained its irrevocable place in the Cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata Op.99 by Hugo Becker and Carl Friedberg as well as by Julius Klengel. Both cellists Becker and Klengel had aconnection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such the Barenreiter edition comes with a Cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin early performances its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation String Instrument fingering String Instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition.- With an unmarked Urtext part.- With a second part including fingering and bowing based on the practices of contemporaries of Brahms.- With

8 Enchanting Pieces from India arranged for String Quartet-For the first time The Schott String Quartet Series features a collection of pieces that have been originally composed in a style unique to string quartet arrangements. Internationally-acclaimed Bollywood composer Pyarelal Sharma has provided music and songs for over 450 films. This set of string quartets composed especially for Schott is influenced by Indian film music Indian folk Arabic and light Indian classical music thus combining the alluring sound of the East with the stability of a classic Western ensemble. Another new feature that this volume has brought to the series is a special bonus CD containing performances of these charming pieces by leading members of theLondon Philharmonic Orchestra.The Schott String Quartet SeriesWith the first books in the series focusing on baroque classical and romantic styles The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer' which features original compositions each book contains original arrangements of well known themes which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance.

8 Popular Pieces-A wonderful collection of romantic pieces arranged for intermediate string quartet in which every instrument is given an opportunity to demand attention.The Schott String Quartet SeriesWith the first books in the series focusing on baroque classical and romantic styles The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer' which features original compositions each book contains original arrangements of well known themes which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instrumentsto demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance.

After an early work and a discontinued attempt in 1831/32 Mendelssohn made his breakthrough in this important chamber music genre in the summer of 1839 with the Piano Trio in d minor op. 49 which was to be followedsix years later by the Trio in c minor op. 66. On publication of the first trio Schumann took the opportunity to describe the composer as the ?Mozart of the 19th century? whereby he was obviously alluding to the mixtureof Classical and Romantic stylistic elements. The musical text of these two famous Trios has been thoroughly revised to reflect the latest scholarly findings. In addition HN 1297 also includes a Flute part for thealternative version of op. 49 (Flute instead of Violin) that Mendelssohn himself made.

Cello Part. This book contains nine pieces from ABRSM?s Grade 3 Cello syllabus from 2024, three pieces chosen from each of Lists A, B and C ? ideal for both Practical and Performance Grade exams. The pieces have been carefully selected to offer an attractive and varied range of styles, creating a collection that provides an excellent source of repertoire to suit every performer. The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information.An edition with piano accompaniment and audio is also available - it includes downloadable recordings of all nine pieces, plus piano accompaniment tracks.

Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'

Par PALMER JIM. The Last Rose of Summer is a traditional Irish tune arranged by Jim Palmer. The beautiful melody, rich harmonies, and interesting accompaniment will help your young orchestra sound mature. The long phrases are highlighted with beautiful slurs and a variety of dynamics. Pizzicato, slurs and ties create the interesting accompaniments. Well-developed phrases and unexpected chords provide opportunities for artistic expression. A perfect choice to teach a broad range of musical ideas. Correlated to Sound Innovations, Book 2, Level 2. (2:25) / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes

Written for cello harp and celeste.Clear Music (after John Taverner) was written at the request of the cellist Wendy Law during the summer of 2002. Clear Music is an extended exploration of a single measure in John Taverner’s (1490 1545) motet Mater Christi Sanctissima. What I attempted to do in Clear Music was to suspend this measure for as long as I could imagine in a single texture: the bright clarity of the celeste and harp. As in the Taverner I have structured Clear Music into a series of peaks featuring the highest registers of the treble voice—here the cello. I remember very vividly performing this piece and being struck by how distant the treble was fromthe other voices - sometimes there are spaces of over an octave between the treble and the alto - and I attempted to recreate the somewhat terrifying and exposed contours of these lines. The end result is I hope a prolonged and transparent recollection of the Taverner which exposes not only my appreciation for the music itself but also my response to performing it.Nico Muhly.

Premiered by the Arditti String Quartet at the Institute of Contemporary Arts ICA London 22nd October 1995. Programme note: SCHREIE UND MELANCHOLIE is dedicated to the Arditti Quartet and was commissioned with support from the Danish Arts Foundation. In the summer of 1993 I worked briefly on some sketches for a choral suite with texts by Georg Trakl. The project was abandoned but the moods from Trakl's poetry in which 'scream' and 'melancholy' are key words stuck in my mind when I began working on my fourth string quartet. This is music full of high siren-like wails and almost infinitely descending glissandi which permeate a landscape of warped tonalharmony. SCHREIE UND MELANCHOLIE is in four movements played attacca. The third movement is a barcarole - a memory of an autumn in Venice. (Bent Sørensen)

In the Summer of 2008, the long-awaited Indiana Jones And The Kingdon Of The Crystal Skull hit our cinemas. Filled with the intrigue and drama characteristic of all the classic Indiana Jones films, Harrison Ford once again reprised his role as our adventerous hero. This book includes selections from that film arranged for cello with a fully orchestrated CD accompaniment as well as a piano accompaniment part. The book contains a carefully edited part that is appropriate for the intermediate level player. The CD includes a demo track, which features a live instrumental performance, followed by the play-along track itself. Also included are eight pages of colour photographs from the movie. Raider's March; Marion's Theme; The Adventures Of Mutt; Irina's Theme; The Journey To Akator.

Par YE XIAOGANG. 'Datura was commissioned by Accessible Contemporary Music and was written in a unique way. I composed the piece in installments over the summer of 2006 and emailed them to Seth Boustead who forwarded them on to the ensemble. In this unique way of working I was able to have time between each installment to think about what would come next and to get feedback from the performers about the music. This is a very new and different way for a composer to work. Usually I write the piece in solitude and then hand it to the performers but writing in installments allows more communications between the performers and the composer and allows the audience to hear the piece as its created. Datura is another series of pieces composer written about Asian plants and flowers. Datura is a very common houseplant in south China and very beautiful but it can also be used as a hallucinogen, usually with unpleasant results. In this piece the composer juxtaposed the other beauty of the plant with the intense inner would it can create by using alternately tranquil and intense musical passages.' (Xiaogang Ye)/ Répertoire / Flute, Violin, Cello and Piano

In the summer of 1893 Antonin Dvorak sat down and composed String Quartet In F Op.96. This beloved quartet was written whilst Dvorak was on vacation in rural Iowa. It is a slow movement for quartet and the finale sweeps along on a energetic syncopated rhythm in the second violin and viola that shortly transforms itself into a wonderful patchwork of shifting accents. The first violin sings first randomly and then voluptuously atop this motoric accompaniment. The quartet is written for 2 violins viola and cello.

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.

Rorem is as well known for his candid diaries as for his musical endeavors. This work is a blend of intense and powerful violin solos with lyrical and meditative sections. This is the full score and parts. For Violin Clarinet and Piano.