Two Sonatas In G and C is a beautiful collection of pieces for Cello with Piano Accompaniment composed by Benedetto Marcello (1686-1739). The solo cello part is also included on a separate insert.

Par CIRRI GIOVANNI BATTISTA. Giovanni Cirri's Sonata #2 for Cello and Piano in G major./ Répertoire / Violoncelle et Piano

Par ECCLES HENRY. Henry Eccles left behind a number of smaller works most of which were written for violins or flutes. However, the most famous is this Sonata in G minor. Though often played in transcription by violinists and especially by double bass players, the sonata was originally published for cello in four movements – Prelude, Courante, Sarabande and Gigue – accompanied by a figured bass. Little is known about Henry Eccles. Neither his birth nor his death date has been firmly established, ranging respectively between 1675-85 and 1735-45. It is not even certain that he composed this sonata. He probably hailed from London and later served at the court of Louis XV in France. The editorChristoph Sassmannshaus, is the grandson of Egon Sassmannshaus, the founder of the “Early Start” series of string methods. / Niveau : 3 / Répertoire / Violoncelle et Piano

Pour Violoncelle [Ou Contrebasse] et Piano. Par QUERE G. / SOLDANO JEAN-CLAUDE / NAULAIS JEROME. / Répertoire / Violoncelle et Piano

Pour Violoncelle [Ou Contrebasse] et Piano. Par QUERE G. / SOLDANO JEAN-CLAUDE / NAULAIS JEROME. / Niveau : 3 - 4èmer Année / Répertoire / Violoncelle et Piano

Violoncelle et Piano. Par QUERE G. / SOLDANO JEAN-CLAUDE. / Niveau : Fin 1er Cycle / Répertoire / Violoncelle et Piano

Romance sans paroles op. 109 Editeur: Ernst-Günter Heinemann Doigtés: Klaus Schilde Doigtés vc.: Claus Kanngiesser Edition Urtext, reliure paperback Pages: 17 (VI, 5, 3, 3), Dimension 23,5 x 31,0 cm N° d'article HN 1294 · ISMN 979-0-2018-1294-6 La «Romance sans paroles dédiée à Mlle. Lise Christiani» ? intitulé figurant sur l?autographe conservé ? ne fut publiée qu?en 1868 à partir des archives du compositeur sous le numéro d?opus 109. La violoncelliste française Lise Christiani donna en octobre 1845 plusieurs concerts à Leipzig; elle y rencontra Mendelssohn et passa probablement commande de la composition de cette pièce charmante. Il s?agit de la seule «Romance sans paroles» que Mendelssohn n?a pas écrite pour piano seul mais pour deux instruments. Jusqu?alors uniquement disponible dans le recueil HN 669 avec d?autres compositions pour cette formation, nous proposons désormais cette «Romance sans paroles» si appréciée des violoncellistes en édition séparée Urtext.

Seule partition au monde à porter le numéro ISBN 9790520011228 cette partition dont le titre est CONCERTO N. 3 IN SOL MAGGIORE (G. 480) PER VIOLONCELLO E ORCHESTRA D'ARCHI comporte des morceaux regroupés et composés par le compositeur Boccherini Luigi.Son instrumentation exacte est Violoncelle Et Orchestre A Cordes. Amateur ou passionné de Classique vous trouverez inévitablement votre bonheur dans la version papier de cette oeuvre. / Violoncelle Et Orchestre A Cordes / Partition

for Cello and Piano (Cello)-Revised edition with new piano accompaniments by J. Schlichting.1 I G Major / Sol majeur / G-Dur2 II C Major / Ut majeur / C-Dur3 VII D Major / Ré majeur / D-Dur4 XV D Major / Ré majeur / D-Dur

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and