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MARCHING BAND
Cello, Piano
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Robert Schumann: Concerto for Cello and Orchestra (Concertstück): Cello and
Cello, Piano
Peters
Original Version - Edition for Cello and Piano. Schumann?s Cello Concerto Redisc...
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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.?
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Robert Schumann: Cello Concerto In A Minor Op.129: Cello: Instrumental Work
Cello, Piano
[Reduction]
Peters
Concerto in A minor for Violoncello and Orchestra-Robert Schumann's Cello Concer...
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Concerto in A minor for Violoncello and Orchestra-Robert Schumann's Cello Concerto In A Minor Op.129 composed for Cello with Piano accompaniment.
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Fantasy Pieces For Violoncello And Piano Op. 73
Cello, Piano
Wiener Urtext
Written in just two days in February 1849, Robert Schumann's Fantasy Pieces Op. ...
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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
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Robert Schumann: Concerto For Cello And Piano: Cello: Score
Cello, Piano
Durand
Robert Schumann's Concerto for Cello and Piano.
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3 Romanzen Op. 94 And Intermezzo (SCHUMANN ROBERT)
Cello, Piano
[Sheet music]
White Prince Editions
Transcribed For Cello And Piano By Bellisario. Par SCHUMANN ROBERT. Violoncelle ...
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Transcribed For Cello And Piano By Bellisario. Par SCHUMANN ROBERT. Violoncelle - Piano/ Répertoire / Violoncelle et Piano
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Alcor (Violoncelle Et Piano)
Français
Cello, Piano
[Sheet music]
Fertile Plaine Editions
La référence FP 479 de l'éditeur Fertile Plaine dont l'auteur célèbre est C...
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La référence FP 479 de l'éditeur Fertile Plaine dont l'auteur célèbre est Coinel Robert, qui a pour titre Alcor ( violoncelle et piano ), a été écrite et composée pour Violoncelle et plus particulièrement pour Violoncelle Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violoncelle Et Piano / Partition
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Alkaid (Violoncelle Et Piano)
Français
Cello, Piano
[Sheet music]
Fertile Plaine Editions
La référence FP 478 de l'éditeur Fertile Plaine dont l'auteur célèbre est C...
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La référence FP 478 de l'éditeur Fertile Plaine dont l'auteur célèbre est Coinel Robert, qui a pour titre Alkaid ( violoncelle et piano ), a été écrite et composée pour Violoncelle et plus particulièrement pour Violoncelle Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violoncelle Et Piano / Partition
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Litanies
Français
Cello, Piano
[Sheet music]
Billaudot
La référence GB3505 de l'éditeur Billaudot dont l'auteur célèbre est Robert...
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La référence GB3505 de l'éditeur Billaudot dont l'auteur célèbre est Robert Lucie, qui a pour titre LITANIES, a été écrite et composée pour Violoncelle et plus particulièrement pour Violoncelle Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violoncelle Et Piano / Partition
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Sonate F-Moll, Op. 4 (SCHUMANN ROBERT)
Cello, Piano
[Sheet music]
Hofmeister Musikverlag
Nach der Sonate für Violine und Klavier, op. 105. Par SCHUMANN ROBERT. / Réper...
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Nach der Sonate für Violine und Klavier, op. 105. Par SCHUMANN ROBERT. / Répertoire / Violoncelle et Piano
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Walzer Aus Op. 63 (Roth) (Ep) (VOLKMANN ROBERT)
Cello, Piano
[Sheet music]
Schott
Par VOLKMANN ROBERT. / Répertoire / Violoncelle et Piano
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5 Stücke Im Volkston Op. 102 (SCHUMANN ROBERT)
Cello, Piano
[Sheet music]
Breitkopf & Härtel
Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Violo...
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Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Violoncelle et Piano
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Female Composers
Cello, Piano
Schott
Le quatrième volume de cette série de compositeurs femelles est dédié aux oe...
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Le quatrième volume de cette série de compositeurs femelles est dédié aux oeuvres de la XIXe et XXe siècles. Les pièces par Violetta Dinescu, Caroline Ansink, Myriam Marbe et Lucie Robert-Diessel ont été composées spécialement pour cette anthologie. / Violoncelle Et Piano
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Petit Concert #3 (VALLEE GEORGES-ROBERT)
Français
Cello, Piano
[Sheet music]
Delrieu
Par VALLEE GEORGES-ROBERT. / classique / Répertoire / Violoncelle et Piano
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Petit Concert #2 (VALLEE GEORGES-ROBERT)
Français
Cello, Piano
[Sheet music]
Delrieu
Par VALLEE GEORGES-ROBERT. / classique / Répertoire / Violoncelle et Piano
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Sonata #2 Eb Minor Op. 83 (FUCHS ROBERT)
Cello, Piano
Amadeus Verlag
Par FUCHS ROBERT. / Répertoire / Violoncelle et Piano
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Romanzen 3 (Fk) (SCHUMANN ROBERT)
Cello, Piano
[Set of Parts]
Schott
Par SCHUMANN ROBERT. / Répertoire / Violoncelle et Piano
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5 Pieces In Folk Style Vc P (SCHUMANN ROBERT)
Cello, Piano
[Sheet music]
IMC (International Music Co.)
Par SCHUMANN ROBERT. / Répertoire / Violoncelle et Piano
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Petit Concert #1 (VALLEE GEORGES-ROBERT)
Français
Cello, Piano
[Sheet music]
Delrieu
Par VALLEE GEORGES-ROBERT. / classique / Répertoire / Violoncelle et Piano
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Nachtstueck (Fk) (SCHUMANN ROBERT)
Cello, Piano
[Sheet music]
Schott
Par SCHUMANN ROBERT. / Répertoire / Violoncelle et Piano
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5 Pieces In Folk Style Op. 102 (SCHUMANN ROBERT)
Cello, Piano
IMC (International Music Co.)
Par SCHUMANN ROBERT. / Répertoire / Violoncelle et Piano
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Sonata in F major for Violoncello and Piano op. 99: Cello: Instrumental Work
Cello, Piano
Barenreiter
Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. Th...
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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
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Sonata in E minor for Violoncello and Piano op. 38: Cello: Instrumental Work
Cello, Piano
Barenreiter
The first three movements of Johannes Brahms? E Minor Cello Sonata were composed...
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The first three movements of Johannes Brahms? E Minor Cello Sonata were composed in 1862 the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms? life however it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann?s advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata Op.38 by Cornelius van Vliet andEdwin Hughes Hugo Becker and Carl Friedberg as well as Julius Klengel. The cellists? van Vliet Becker and Klengel?s fingering and bowing allows for a better understanding of their performance practice. As such the Bärenreiter 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 works? origins 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 in 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 an extensive Performance Practice Commentary.-
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Edward Elgar: Salut d'Amour Op. 12 For Violoncello And Piano: Cello: Score
Cello, Piano
[Sheet music]
G. Henle
Salut d'amour op. 12 for Violoncello and Piano-Edward Elgar’s Salut Dâ...
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Salut d'amour op. 12 for Violoncello and Piano-Edward Elgar’s Salut D’Amour is one of those pieces by the British composer that has a particularly haunting melody. Composed in 1888 for his future wife Caroline Alice Roberts the work became anenormous success early on. There are numerous arrangements but the only versions for which the autograph manuscripts survive are those for Violin and Piano (HN 1188) Piano solo (HN 1190) and Violoncello and Piano.Up tonow there has only been an arrangement of the Cello part made by the original publisher presumably with Elgar’s approval. We are now for the very first time publishing the version following Elgar’s autographmanuscript which for unknown reasons had never been released. In addition we are publishing the trusted musical text from the first edition.
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Schumann R. - Concerto Pour Violoncelle En La Mineur Op. 129 - Violoncelle, Piano
Cello, Piano
Breitkopf & Härtel
EDITION URTEXTCompositeur : Schumann, RobertInstrumentation : Vc,KlavNombre de p...
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EDITION URTEXTCompositeur : Schumann, RobertInstrumentation : Vc,KlavNombre de pages : 54
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Ludwig van Beethoven: Irish Song for Cello with Piano accompaniment: Cello:
Cello, Piano
[Sheet music]
Novello & Co Ltd.
It is a surprising fact of Beethoven’s life that of all the categories of...
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It is a surprising fact of Beethoven’s life that of all the categories of pieces he composed there are more settings of Irish songs than of any other type of music. Scottish poet Robert Burns convinced a Scottish music publisher to commission Beethoven to set his own words to Irish airs. The death of Burns in 1796 ended the project but Beethoven went on to harmonise and arrange the songs in 1814 through 1816 mainly and they were published though never achieved as great a popularity as a rival set by Thomas Moore.This simplified version for easy Cello and Piano was arranged by composer Hugo Cole an accomplished cellist who was for many years a music critic for theGuardian newspaper.
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Solos For The Cello Player - Cello
Cello, Piano
[Sheet music]
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Intermediate
Schirmer
Description Solos For The Cello Player Seventeen intermediate level pieces re...
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Description Solos For The Cello Player Seventeen intermediate level pieces representing various stylistic periods. Songlist Allegro (Violin Sonata Op.1 No.15) [Handel, George Frideric] Allegro Spiritoso [Senaille, Jean Baptiste] Andante [Beethoven, Ludwig Van] Andante (Orfeo) [Gluck, Christoph Willibald] Aria [Lotti, Antonio] Country Dance [Weber, Carl Maria Von] La Cinquantaine (Air In The Olden Style) [Marie, Gabriel] Larghetto (Violin Sonata Op.1 No.13) [Handel, George Frideric] Lento (Five Pieces In A Popular Mood) [Schumann, Robert] Lullaby [Brahms, Johannes] Menuet (Divertimento In D, K334) [Mozart, Wolfgang Amadeus] Nina (Canzonetta) [Pergolesi, Giovanni] Romance [Debussy, Claude] Sicilienne [Faure, Gabriel] The Swan (Carnival Of The Animals) [Saint-Saens, Camille] Two Bourrees (Third Cello Suite] [Bach, Johann Sebastian] Village Song [Popper, David]
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Max Bruch: Kol Nidrei Opus 47 for Violoncello and Orchestra: Cello: Instrumental
Cello, Piano
G. Henle
Aside from his popular Violin Concerto no. 1 ?Kol Nidrei? numbers among Max Bru...
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Aside from his popular Violin Concerto no. 1 ?Kol Nidrei? numbers among Max Bruch?s most famous compositions. The melancholy ?Adagio after Hebrew melodies? was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch by his own admission. The tenor Cello sound is the ideal medium for the voice of a Jewish cantor and thus to this day ?Kol Nidrei? offers every cellist a wonderful opportunity to make the instrument ?sing?. In this text based on the first edition of 1881 ?Kol Nidrei? appears for the first time in an Urtextedition substantiated by scholarly research for which not just the musical sources but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part.
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Edward Elgar: Salut D'Amour Op. 12 For Violoncello And Piano: Violin: Score
Cello, Piano
[Sheet music]
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Intermediate/advanced
G. Henle
Salut d'amour op. 12 for Violin and Piano-Edward Elgar?s Salut D?Amour is one of...
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Salut d'amour op. 12 for Violin and Piano-Edward Elgar?s Salut D?Amour is one of those pieces by the British composer that has a particularly haunting melody.The short work also had a special significance for the composer. CarolineAlice Roberts had been having Piano lessons with Elgar since 1886. Their teacher-pupil relationship soon blossomed into love and they became engaged in 1888. It was in this year that Elgar composed ?SalutD?Amour? for his bride initially with the German title ?Liebesgruß?. They got married in 1889 and the work was published at the same time. Henle are now publishing this moderately difficult immortal classic inthe original versions for Violin and Piano Violoncello and Piano (HN1189) and Piano solo (HN1190).
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Sonata Op. 121 (MOSCHELES IGNAZ)
Cello, Piano
[Sheet music]
Lienau
Par MOSCHELES IGNAZ. Aujourd'hui, Ignaz Moscheles (1794-1870) est connu que les ...
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Par MOSCHELES IGNAZ. Aujourd'hui, Ignaz Moscheles (1794-1870) est connu que les experts comme un virtuose du piano importante et compositeur de nombreuses oeuvres pour piano, qui ont souvent été réalisées en son temps. Il entretenait une amitié avec Félix Mendelssohn. En plus de ses compositions pour piano généralement très virtuoses, Moscheles a également écrit la musique de chambre intéressante. La Sonate en mi présente majeur op. 121 pour violoncelle et piano a été écrite en 1850, l'année même où Robert Schumann a écrit son concerto pour violoncelle. En dehors de merveilleux et d'élaborer des éléments romantiques de style, cette grande oeuvre comporte quelques idées uniques et originales qui en fait un choix idéal pour un concert./ Répertoire / Violoncelle et Piano
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Pieces For Violoncello
Cello, Piano
EMB (Editio Musica Budapest)
Peu de gens savent que Franz Liszt organisé certaines de ses pièces pour piano...
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Peu de gens savent que Franz Liszt organisé certaines de ses pièces pour piano pour le violoncelle, avec accompagnement de piano, et cette version de l'oeuvre apparu dans d'impression pendant la durée de vie du maestro. Árpád Pejtsik sélectionné deux de ces volumes pour cette compilation d'jubilé marque de Liszt: Elégies I et II Les autres compositions de Liszt qui apparaissent dans la collection ont été également à l'origine pour des oeuvres pour piano: l'Ave Maria et Cantique d'amour (des pièces de la Harmonies poétiques et religieuses de cycle) ont été transcrites par un élève de Liszt, Robert Pflughaupt, la version pour violoncelle, transposée en sol majeur, de la Consolation E Major est par Jules de Swert, violoncelliste solo à l'orchestre de Weimar de ces jours, celle de l'Angélus (le morceau d'ouverture dans le tome 3 du cycle intitulé Années de Pèlerinage) est par Lothar Windsperger, un compositeur qui vivait Deutsch au tournant du siècle 19ème-20ème. / Violoncelle Et Piano
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