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Let It Be
BASSOON
Cello, Piano
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Leos Janacek: Werke: Cello: Instrumental Album
Cello, Piano
[Score and Parts]
Barenreiter
Leos Janacek wrote only two works for cello and piano of which only Pohadka (Fa...
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Leos Janacek wrote only two works for cello and piano of which only Pohadka (Fairy Tale) became established in the concert repertoire. Although he completed the work the composer did not want to have it published. The history of the work’s composition is long and complicated. Janacek began writing the work before 1910 however the Pohadka (Fairy Tale) only received its final form after a series of corrections in 1923. The second composition the Presto is incomplete. Only a sketch exists which Janacek did not develop further. The original tempo marking of Allegro was changed by Janacek himself to Presto. The work has beendiscussed under this title in recent Janacek literature. In the supplement of this edition an early version of A Tale is included. The source to this version is a copy owned by Antonin Vana one of the first interpreters of the composition. The early version of A Tale offers a valuable and interesting alternative to today’s known version with its marked differences such as the considerably changed ending of the first movement and the original form of four movements. Urtext from the Janacek Complete Edition All available sources have been taken into consideration A detailed new foreword by Jiri Zahradka (Czech English German) “Again Bärenreiter sets the industry standard for scholarship clarity of type layout and paper qualitiy.”(Strings July 2009)
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The Complete Sonatas
Cello, Piano
Wiener Urtext
Le chef d'orchestre de l'Orchestre du Gewandhaus de Leipzig depuis plusieurs ann...
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Le chef d'orchestre de l'Orchestre du Gewandhaus de Leipzig depuis plusieurs années, Carl Reinecke était une des figures plus importantes parmi les musiciens dans la seconde moitié du XIXe siècle. Ses trois sonates pour violoncelle et piano sont de qualité musicale étonnante qui les place à droite jusqu'à avec des sonates de Johannes Brahms. Cependant, c'est autant plus étonnante, qu'une édition urtext remarquable de ces oeuvres n'existait pas jusqu'à présent - violoncellistes a souvent eu à se replier sur les copies des premières éditions seulement quelques-uns qui étaient existantes. Cette lacune est désormais fermée par la Wiener Urtext édition - droit à temps pour le 100e anniversaire de la mort du compositeur. Il englobe tous les trois sonates en un seul volume, ajoutant ainsi trois chefs-d'oeuvre de la musique de chambre romantique à l'inférieur à un répertoire exhaustif du XIXe siècle pour violoncelle et piano. / Violoncelle Et Piano
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4 Cities - Dört Sehir Op. 41
Cello, Piano
Schott
Fazil Say 'Villes Quatre' Sonata peut être considéré comme un voyage à trave...
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Fazil Say 'Villes Quatre' Sonata peut être considéré comme un voyage à travers quatre villes d'Anatolie. Ce travail a pris son inspiration dans les souvenirs Fazil Say et les événements de sa vie. Bodrum est bien connue comme une ville très fréquenté par les touristes qui le distingue des trois autres endroits. Ces quatre villes très différentes, avec leurs cultures individuelles ont été sélectionnés à partir de l'étendue de près de 2000 km de large de l'Anatolie.SivasSivas est une ville conservatrice située dans l'Est de l'Anatolie, qui est connu pour sa grande population alévie. Comme ¸ IK Veysel est un Ozan alévie (poète) et Fazil Say a été inspiré par sa chanson 'Saz?m' (mon saz / mon instrument) dans la première partie de ce travail. Le mouvement est conclu sur un ton mélancolique, à l'imitation de cet instrument ethnique.HopaUn mariage traditionnel fourni Faz?l Dites-le avec son inspiration pour ce deuxième mouvement qui embrasse la culture orientale de la mer Noire. Horon est une danse folklorique très rapide en 7/16 le temps qui se joue sur la kemence, un instrument typique de la région orientale de la mer Noire. La musique touche aussi à des danses caucasiennes, géorgiennes et Laz, chansons anonymes, 'les femmes Laz' et 'Cilveloy nanayda' (une chanson turque).AnkaraAnkara a déclaré que la capitale de la Turquie par Atatürk en 1923. Cette ville, avec sa population de quatre millions était où le compositeur est né et a également passé son enfance. 'Ankara'n?n Tas ¸ Ina Bak', une chanson rebelle datant de la Première Guerre mondiale, on peut discerner dans la section du milieu lugubre. Le mouvement avec son atmosphère de tragédie évoque l'esprit républicain et l'ambiance d'autrefois.BodrumBodrum est universellement connu comme le Saint-Tropez de la Turquie. Une rue célèbre de la ville est bordée de nombreux bars et pubs à partir de laquelle une cacophonie de musiques différentes peuvent être entendus, allant du jazz, pop et rock des chansons folkloriques. Fazil Say mélange les sons de ces pubs dans ce mouvement qui inclut un volet marche dans un tempo jazz balancer. Le mouvement fait référence à la 'Alt?nda Y?ld?zlar?n' chanson qui a été réalisée par le célèbre chanteur Zeki Muren qui est également né à Bodrum. Comme chanson ¸ IK Veysel de 'Uzun Ince Bir Yolday?m', qui est bien connu dans de nombreux rangements est également en vedette dans ce mouvement. Il est amené à une conclusion brutale et absurde dans sa description d'une bagarre pub aussi souvent vécu dans cette ville. / Violoncelle Et Piano
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Barry John - James Bond Collection + Cd - Cello And Piano
Cello, Piano
[Sheet music + CD]
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Intermediate
Alfred Publishing
Category: String Series Format: Book & CD Instrument: Cello Instrumentation: Cel...
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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.
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90 Golden Years Of Irving Berlin (BERLIN IRVING)
Cello, Piano
[Sheet music]
I.M.P.
Par BERLIN IRVING. Une collection des plus célèbres chansons d'Irving Berlin, ...
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Par BERLIN IRVING. Une collection des plus célèbres chansons d'Irving Berlin, arrangé pour piano et voix, complete avec les paroles et les symboles de la corde. / Date parution : 2005-05-27/ Recueil / Violoncelle et Piano
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Franz Joseph Haydn: Cello Concerto In C Hob.VIIb: Cello: Instrumental Work
Cello, Piano
G. Henle
Haydn’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) w...
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Haydn’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was probably composed between 1762 and 1765 when he was already director of music to Prince Esterh zy. It may have been writtenfor the cellist in the court Orchestra Joseph Weigl (1740-1820) for whom Haydn most likely also wrote the solo Cello parts in his early symphonies. Weigl was a member of the Esterh zy ensemble from 1761 to 1769 andthereafter served as a principle cellist in various Viennese ensembles.The concerto was rediscovered by Oldrich Pulkert who in 1961 found an eighteenth-century manuscript copy (Prag National Museum Fonds Radenin) andpublished the concerto in 1962. Previously the existence of this piece was known only through Haydn’s entry in his private list of works (the so-called ‘Entwurf’ [‘draft’] catalogue).The Orchestral setting ismodest: besides the Strings (with a non-obligato Bassoon doubling the Bass part) there are two Oboes and two Horns which are reserved almost exclusively for the tutti passages.This Piano reduction is based on the text givenin the complete edition of Haydn’s works as edited by the Joseph Haydn Institute Cologne (Joseph Haydn Werke Series III Vol.2 with Preface and Critical Report published by G. Henle Verlag Munich 1981). The Cello partin the Piano reduction is identical to that of the complete edition and thus follows the Prague source as closely as possible even in the expression marks and in certain peculiarities of notation.
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Reynaldo Hahn: Pieces For Cello: Cello: Instrumental Work
Cello, Piano
Leduc, Alphonse
For quite some time posterity remembered Reynaldo Hahn (1874-1947) for just a h...
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For quite some time posterity remembered Reynaldo Hahn (1874-1947) for just a handful of songs and the operetta Ciboulette overlooking the incredible diversity of a catalogue as eclectic as it is appealing. Yet his chamber music contains many little-known treasures: thus cellist Steven Isserlis in his preface hastens to hail the first modern edition of these two scores which he regularly plays in recital so much does their beauty enchant the audience. Published in 1911 the Two Improvisations on Irish Airs for cello and piano turn out to be the transcription of his first and third Preludes for piano four hands (1894). Thesefolk themes come from the collection Songs of Old Ireland published 12 years earlier by Charles Villiers Stanford: gracefully and tenderly The Little Red Lark unfurls a melancholic tune of which the regular foundation respects the breadth of phrase typical of folk songs; in The Willow-Tree the lover begs his beloved in vain to take him in her arms one last time before he lies down lifeless in the shade of the tree. Beyond this sensitive exploration of the Irish soul Hahn offers us a journey into the past: the Variations chantantes sur un air ancien develop a theme borrowed from Cavalli’s opera Xerse. In this aria (1660 version: Act IV sc. 6) Ambassador Periarco dreams of moving away from court intrigues to be able to taste the pleasures ‘to which the gods have destined him’. Reynaldo Hahn’s variations succeed in maintaining the sweet simplicity of this theme as noble as it is refined.
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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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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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Sonate F-Dur (STRAUSS RICHARD)
Cello, Piano
Schott
Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was compo...
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Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano
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Star Wars : Episodes I II And III Instrumental Solos For Strings
Cello, Piano
Alfred Publishing
This book is part of a String series arranged for Violin, Viola, and Cello. The ...
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This book is part of a String series arranged for Violin, Viola, and Cello. The arrangements are completely compatible with each other and can be played together 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. A fully orchestrated accompaniment CD is also provided. Each song on the CD includes a DEMO track, which features a live string performance, followed by the PLAY-ALONG track by itself. / Violoncelle Et Piano
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Felix Mendelssohn Bartholdy: Cello Works Complete Volumes 1 & 2: Cello:
Cello, Piano
Barenreiter
For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for vi...
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For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians. The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces.Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assaitranquillo.Urtext edition containing all of Mendelssohn’s works for violoncello and piano in 2 volumesAlso includes reconstructions or completions of Mendelssohn’s unfinished works for violoncello and pianoInformative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pagesSpecial price for both volumes I and II (BA9098)
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Felix Mendelssohn Bartholdy: Cello Works Complete Volume 2: Cello: Instrumental
Cello, Piano
Barenreiter
For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for vi...
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For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians. The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces.Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assaitranquillo.Urtext edition containing all of Mendelssohn’s works for violoncello and piano in 2 volumesAlso includes reconstructions or completions of Mendelssohn’s unfinished works for violoncello and pianoInformative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pagesSpecial price for both volumes I and II (BA9098)
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Felix Mendelssohn Bartholdy: Cello Works Complete Volume 1: Cello: Instrumental
Cello, Piano
Barenreiter
For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for vi...
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For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians. The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces.Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assaitranquillo.Urtext edition containing all of Mendelssohn’s works for violoncello and piano in 2 volumesAlso includes reconstructions or completions of Mendelssohn’s unfinished works for violoncello and pianoInformative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pagesSpecial price for both volumes I and II (BA9098)
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Biographie Et Catalogue Des Oeuvres Musicales
Français
Cello, Piano
Delatour France
Le pre?sent catalogue des oeuvres musicales de Maurice Emmanuel est a? ce jour l...
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Le pre?sent catalogue des oeuvres musicales de Maurice Emmanuel est a? ce jour la seule publication rendant compte de l'inte?gralite? des partitions qui nous sont parvenues. On pourra s'e?tonner a? bon droit qu'il ait fallu attendre pre?s de 80 anne?es apre?s la disparition du compositeur pour qu'il soit possible d'en prendre connaissance, et un tel retard me?rite certainement quelques explications.Nous avons fait le choix de pre?senter e?galement le document de Frank Emmanuel, qui donne des indications inte?ressantes, notamment sur les premiers interpre?tes (sur ce point, le texte a e?te? enrichi et actualise?), ainsi que le catalogue de Radio France dans sa version la plus re?cente. Enfin, un e?crit de Maurice Emmanuel lui-me?me fait part de ses volonte?s explicites, e?clairant par-la? les fragments d'un chantier d'archives trop longtemps reste? dans l'ombre. On peut penser, cependant, que le catalogue complet - le temps passe? permettant peut-e?tre de s'affranchir quelque peu de la terrible autocensure du compositeur - re?servera de belles de?couvertes, et qu'il pre?tera ainsi son concours aux promesses de l'avenir. / Livre
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Starke Duos 1 Für Cello (Bratsche) Und Klavier
Cello, Piano
Holzschuh Musikverlag
23 Charakterstücke - leicht in beiden Instrumenten. Par GROB KARIN. / Recueil /...
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23 Charakterstücke - leicht in beiden Instrumenten. Par GROB KARIN. / Recueil / Violoncelle et Piano
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Felix Mendelssohn Bartholdy: Song Without Words: Cello: Score and Parts
Cello, Piano
Barenreiter
Op. 109-This standard work of the cello literature has been extracted from volum...
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Op. 109-This standard work of the cello literature has been extracted from volume II of the Complete Works for Violoncello and Pianoforte (BA 9096 and BA 9097) which was published in 2016. Mendelssohn scholar R. Larry Todd edited the scholarly-critical edition of “Song without Words”.This work is not based on the surviving autograph manuscript which could not have been the basis for the posthumous first edition but rather on the only plausible source: the German first edition itself. This was published in 1868 as op. 109 and is unquestionably based on an untraceable complete final manuscript perhaps once previously owned by the dedicatee French cellist LisaBarbier Cristiani.The publication is free from editorial amendments and modern performance instructions and provides an excellent basis for musical interpretation.
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Carl Vine: Concerto for Cello: Cello: Score and Parts
Cello, Piano
Faber Music Limited
Composed for Steven Isserlis in 2004 Carl Vine’s Cello Concerto is an ex...
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Composed for Steven Isserlis in 2004 Carl Vine’s Cello Concerto is an exhilarating 20-minute work that traverses a vast emotional palette. The Concerto begins arrestingly with soloist pitted against orchestra though as it develops the two factions move towards union. A slow chorale led by the cellist frames the central section whilst relentless motor rhythms drive the work to its close.
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I Could Sing Of Your Love Forever Vol.4
Cello, Piano
Hal Leonard
Brentwood-Benson Music Publications presents Vol. 4 in its Instrumental Worship ...
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Brentwood-Benson Music Publications presents Vol. 4 in its Instrumental Worship Series with I Could Sing of Your Love Forever: 12 instrumental duets for piano and cello. These tasteful, worship-centric arrangements by Christopher Phillips, Music Director at Christ Church Nashville, are perfect for offertories, postludes, or as intimate, stand-alone performances. With a focus on flexibility, these inspiring arrangements also offer the solo instrumental part transposed to include C instruments (Violin/Flute/etc.) and Bb instruments (Trumpet/Clarinet/etc.).As an added bonus, this folio comes with a complete demonstration listening CD which can be used both as a reference recording for your rehearsals or simply for your own listening pleasure and quiet times of reflection and worship.Further enhancing the value and usability of this featured publication, a CD Piano Accompaniment Track is available as a separate purchase. This enables the solo instrumentalist to perform these arrangements without the need of live piano accompaniment. / Violoncelle Et Piano
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Bohuslav Martinu: Suite Miniature H192: Cello: Instrumental Work
Cello, Piano
Leduc, Alphonse
Composed by the Czech composer Bohuslav Martinü in 1930 Suite Miniature is a...
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Composed by the Czech composer Bohuslav Martinü in 1930 Suite Miniature is a chamber work for Cello and Piano that lasts 10 minutes and 30 seconds. The difficulty for Cello is considered as medium and for the Piano easy to medium. Suite Miniature is divided in seven sections: I. Moderato II. Poco andante III. Poco moderato IV. Andante V. Poco allegro VI. Allegretto VII. Moderato Good for recitals this piece is really melodic and cheerful with some parts quiet and others quite energetic. BohuslavMartinü(1890-1959) also wrote 13 other ballets 15 operas and 6 symphonies and some orchestral and chamber music.
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Richard Strauss: Sonate F-dur Opus 6 für Violoncello und Klavier: Cello and
Cello, Piano
G. Henle
Sonata in F major op. 6 for Violoncello and Piano. Aside from the Piano Quartet ...
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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.?
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Johannes Brahms: Sonata In E Minor Op. 38 For Cello & Piano: Cello: Instrumental
Cello, Piano
G. Henle
The E minor Cello Sonata is the first work for one solo instrument and Piano whi...
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The E minor Cello Sonata is the first work for one solo instrument and Piano which the meticulous composer also had printed. In summer 1865 Brahms offered it to the publisher Simrock as a sonata “whose twoinstruments are both absolutely easy to play” – and rightly so: contrary to the later F-major Sonata op. 99 (HN 1135) this early sonata is technically less demanding yet musically more striking at the same time sothat it is a hit with amateurs and professionals alike. This Henle edition is based on the new Brahms Complete Edition and thus boasts besides in-depth comments a musical text revised according to the latest scholarlyfindings; as always the Cello part is enhanced with additional markings.
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Gabriel Fauré: Romance In A Op. 69 For Violoncello And Piano: Cello: Score and
Cello, Piano
G. Henle
For Violoncello And Piano-This brief utterly charming and tuneful piece was pro...
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For Violoncello And Piano-This brief utterly charming and tuneful piece was probably committed to paper in 1894 though Fauré based it on an older version for cello and organ. The subsequent tempo change to ?Andante quasi Allegretto? made the work?soriginal title of ?Andante? obsolete. The change of name to ?Romance? was also better suited to its songlike nature. After its first performance in November 1894 the piece rapidly became popular and is a well-loved encore piece atconcerts today. This ?Romance? continues the Henle Urtext series of short pieces for cello by Fauré for which we have been able to engage David Geringas to add the performance markings.
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Kenneth Leighton: Elegy: Cello: Instrumental Work
Cello, Piano
[Sheet music]
Alfred Lengnick
The Elegy for Cello and Piano was composed in 1949. It was originally conceived ...
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The Elegy for Cello and Piano was composed in 1949. It was originally conceived as the slow movement of a cello sonata which was never completed. It is a beautifully moving piece in its own rights that has – quite deservedly so – become popular with cellists.
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Paulet Vincent - Sonate - Violoncelle, Piano
Cello, Piano
JOBERT
Compositeur/Auteur : PAULET VincentDiscipline/Instrument : violoncelle et pianoS...
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Compositeur/Auteur : PAULET VincentDiscipline/Instrument : violoncelle et pianoSupport : PartitionStyle/Genre : contemporainDate de parution : janv.-00Nombre de pages : 34 + 18
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Concerto no (AHO KALEVI)
Cello, Piano
Fennica Gehrman
Par AHO KALEVI. Kalevi Aho's (b. 1949) concerto no. 2 for cello and orchestra (2...
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Par AHO KALEVI. Kalevi Aho's (b. 1949) concerto no. 2 for cello and orchestra (2013) is in five movements performed without a break. It begins with a swinging Berceuse, followed by a very quick, virtuosic Presto in 5/8 time. The heart of the concerto is the cadenza-like third movement, Adagio, dominated throughout by the soloist. A fairly short Allegretto is followed by the closing Epilogue. This has flashbacks to the opening movement, and they lead to a cadenza in which the soloist plays only flageolet notes and pizzicatos. The concerto ends with a virtuosic coda in 5/8 time evocative of the second movement. Arto Noras gave the concerto its first performance with the Lahti Symphony Orchestra conducted by Osmo Vänskä in Naantali on June 5, 2014. It was a joint commission from the Naantali Music Festival and the Lahti Symphony Orchestra. This product consists of the solo part (18 pages) and piano reduction by Kari Vehmanen (62 pages) - have a look inside by clicking “sample”. The concerto is scored for a fairly small orchestra. The instrumentation is 2(II=afl)2(II=ca)2(II=bcl)2-2200-bar-02-str and the orchestral material is available for hire from the publisher. / Date parution : 2022-05-31/ Répertoire / Violoncelle et Piano
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Kenneth Leighton: Partita For Cello And P. Op.35: Cello: Instrumental Work
Cello, Piano
[Sheet music]
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Intermediate/advanced
Novello & Co Ltd.
'This work was completed in 1959 and first performed during the following year b...
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'This work was completed in 1959 and first performed during the following year by Florence Hooton and the composer.The opening Elegy is an intense lyrical movement with two distinct themes and a final mysterious section in the manner of a slow march. This is followed by a brilliant and energetic Scherzo which is entirely dominated by the opening motive heard first on the Piano while the final movement Theme and Variations is more extended and carries the main emotional weight of the work. A bell-like theme constructed mainly of fourths is followed by variations which bear the titles - Allegro inquieto OSTINATO (a kind of passacaglia) March Appassionato Waltz and finallyCHORALE in this last variation the bell-like texture of the theme is developed and enhanced.'- © Kenneth Leighton
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Ludwig van Beethoven: Variations For Pianoforte And Violoncello: Cello: Score
Cello, Piano
Barenreiter
Beethoven?s three sets of cello variations comprise the ?Twelve Variations on a ...
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Beethoven?s three sets of cello variations comprise the ?Twelve Variations on a Theme from H?ndel?s Oratorio ?Judas Maccabeus?? (WoO 45) the ?Twelve Variations on the theme ?Ein M?dchen oder Weibchen?? (op.66) from Mozart?s opera ?Die Zauberfl?te? and the ?Seven Variations on the duet ?Bei M?nnern welche Liebe f?hlen?? (WoO 46) also from ?Die Zauberfl?te?.These works have existed in many different editions some of which have from time to time been (tacitly) reprinted with corrections to keep up to date with the latest scholarship. This new B?renreiter Urtext edition however is the first to give all Beethoven?s rhythms in the violoncello part correctly.Beethoven?s autograph manuscript of op.66 is lost; the critical commentary (English) includes a complete facsimile of the violoncello part from the only surviving source (the first edition) illustrating the various problems encountered in determining the best musical text.With numerous corrections in the violoncello partIncluded in the critical commentary is a complete facsimile of the violoncello part of op. 66 as it appeared in the first edition
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Ludwig van Beethoven: Sonatas For Piano And Violoncello: Cello: Instrumental
Cello, Piano
G. Henle
Alongside Bach’s Solo Suites a further highlight for cellists are Beethov...
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Alongside Bach’s Solo Suites a further highlight for cellists are Beethoven’s five Cello Sonatas. They were published between 1797 and 1817 and thus cover a large part of Beethoven’s compositional lifetime mirroring important stages of his musical development. This revised edition incorporates the findings contained in the critical report of the Beethoven Complete Edition which was compiled at the same time. The Urtext edition hasbeen re-engraved but the proven page layout of the previous edition has been preserved. The renowned cellist David Geringas provided completely new fingerings and bowings for the cello part which also has excellent page turns.An unmarked Urtext part is also included.
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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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