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.

?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.

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.?

Another volume in this highly acclaimed series premiering sensational new arrangements for cello. CELLOWISE 2 includes Lacrimosa by Mozart Paganini's La Campanella Prokofiev Romeo and Juliet Brahms Waltzes Op. 39 and Bach's Gavotte en Rondeau from Violin Partita in E made famous by Segovia.With the drama and spectacle of Prokofiev's Romeo and Juliet acrobatic leaps and fun of the Fair in Moussorgsky's Gopak reflective chiaroscuro of the Brahms Waltzes the fireworks of Paganini's La Campanella mystical Lacrimosa of Mozart's Requiem or Bach's colourful variations in the Gavotte en Rondeau this selection explores vivid and dramatic themes fromthe great Classics. It is idiomatic to the cello clear and accessible in technical format and makes a practical and versatile concert handbook for cellists of all ages.ContentsBach    * 3. Polonaise (from Suite No. 2 BWV 1067)    * 4. Gavotte en Rondeau (from Partita No. 3 in E major BWV 1006)Brahms    * 7. Waltz op. 39 No. 9    * 8. Waltz op. 39 No. 15Handel    * 1. Hornpipe (from the Water Music)    * 2. Air (from the Water Music)Mozart    * 5. Lacrimosa (from the Requiem K626)Mussorgsky (Moussorgsky)    * 9. Gopak (from Sorochintsky Fair)Paganini    * 6. La CampanellaProkofiev    * 10. Montagues and Capulets (from Romeo and Juliet)

Take Your Bow is a collection of 20 concert pieces for beginner string players written by Celia Cobb and Naomi Yandell. Years of string teaching have given them the inspiration to produce pieces which will both delight and engage. Their imaginative writing strengthens rhythmic and stylistic concepts whilst employing a variety of adventurous playing techniques that students will find to be a fun and achievable challenge. Each piece is compatible with any of the other instruments in the series in any combination making it an excellent resource for individual or group teaching. Take Your Bow is available in 4individual editions — for violin viola cello and double bass each with piano accompaniment — and as a separate full score.

The circumstances in which these poetic ?Soirée Pieces? (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to fleewith Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the Clarinet they were accompanied byalternative parts for Violin and Cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.

Zoltán Kodály (1882-1967) composed Adagio for violin and piano in 1905 and dedicated it to the outstanding violinist Imre Waldbauer. In 1910 Kodály made versions of the work for both viola and cello, while Norbert Duka transcribed it for double bass. In 2014 we published all four versions of Adagio in a new separate edition. / Violoncelle Et Piano

The Romanian Folk Dances undoubtedly rank amongst Bartok's most popular compositions. The earliest version is scored for Piano (1915) and was published by Universal Edition is 1918. The composer himself orchestrated this version in 1917. Several other chamber music arrangements (for example Zoltan Szekely's version for Violin and Piano) were not by Bartok although he authorised them. The musical material derives from Bartok's collections of folk music which date right back to 1904 when he wrote down a melody sung by a Hungarian peasant girl. In the course of extensive travels throughout Eastern Europe Bartokcompiled an enormous collection of folk tunes (by 1918 his collection comprised no fewer than 2700 Hungarian 3500 Romanian and 3000 Slovak dances and songs) which would in all probability have been lost had Bartok not written them down. As it was some of them found their way into his compositions. In 1908 Bartok jotted down tunes in Transylvania. They are the source of Romanian Folk Dances.

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.

Par SAINT-SAENS CAMILLE. After The Violin Sonata, Op. 75/ Répertoire / Violoncelle et Piano

CELLOWISE is an exciting new collection of arrangements from the popular classics. The standard is from Grade 3 upwards and included are Bach Badinerie Handel Sarabande Haydn Gipsy Rondo Gossec Gavotte and Tambourin Brahms Hungarian Dance and other favourites with attached CD of top quality performances making a pleasant and varied recital programme both to listen to and of course to play. Cellowise is featured on the 2014 Bauhinia Cup String Competition in Hong Kong and is on the current syllabuses of Trinity College London the Musik-PrüfungsKommission in Vienna and the Royal Irish Academy of Music in Dublin 2015-2018.FOOTNOTE TO CONTENTSOriginally a folk-dance from Medieval Spain the Sarabande became the spiritual centre-point of the 18th. Century dance suite and well-known to cellists through the Bach Suites.The Badinerie is a musical haiku stunning in its precision and economy of means and like a poem condenses much meaning and expression into few words.Sir Yehudi Menuhin once called the 'Erbarme Dich' solo the most beautiful piece of music ever written for the violin. This poignant duet for voice and obligato is about remorse betrayal and the universal theme of suffering. It is one of the centre-pieces of the St. Matthew Passion and is sung after Peter has denied Christ betraying him to the authorities and to his Crucifixion.Gavotte and Tambourin. These two Dances reflect the political opposites of the French Revolution - one a popular dance for partying and celebration the other more courtly and considered a favourite of Marie Antoinette.Rondo all'Ongarese and Hungarian Dance.Hungarian Folk music is fiery and impassioned with virtuoso techniques of embellishment and improvisation. Haydn and Brahms incorporated these elements into Classical forms.Like other Romantic and early-Romantic composers (Mendelssohn and Schubert) Brahms was attracted to Scotland as a wild and beautiful country of myth and

Die Trois Pièces de concert verströmen rundum französisches Flair. Simon Laks komponierte sie in seinen frühen Pariser Jahren für den ehemaligen Solocellisten des Königlichen Concertgebouw Orchesters, Gérard Hekking, der seit 1927 am Conservatoire lehrte. Der erste Satz variiert ein raffiniert-schlichtes eigenes Thema und bleibt dabei, trotz aller virtuosen Capricen, immer nonchalant. Der langsame zweite Satz ist eine melancholische Romanze über Blues-Harmonien, und der dritte ein Perpetuum mobile - ein Satztypus, den zur selben Epoche etwa auch Maurice Ravel in seiner Kammermusik ähnlich verwandte.Laks schuf von seiner für Violoncello und Klavier vorgesehen Komposition auch eine Fassung für Violine und Klavier - lange verschollen, wurde sie vor wenigen Jahren für die CD-Einspielung bei eda records rekonstruiert / Violoncelle Et Piano

Young cellists can also enjoy the sort of fresh and energetic pieces till now reserved for violins. The solo part is written in the bass clef throughout and strays no higher than 'middle C'. The piano part has also been kept fairly simple while allowing gifted pianists potential for improvisation. Grade: 2 - 5