As a prestigious composer of the early 20th century Maurice Ravel's Pièce En Forme De Habanera transcribed for the Cello by Paul Bazelaire contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies  Pièce En Forme De Habaneraclearly exemplifies these qualities through flourishing Cello lines and evocative chordal and rhythmic Piano accompaniments. Moreover Habanera rhythms heard throughout the piece create further excitement. All of these musical elements combine to create a highly enjoyablepiece for the Cello repertoire. In addition the clear print of separate Cello and Piano parts in this edition of Pièce En Forme De Habanera add to an irresistible purchase for budding cellists.

18 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.

Fantasia transcribed for violoncello and piano by Christoph Sassmannshaus-Born in Erfurt the composer Edward Mollenhauer (1827 1914) achieved success in America as a soloist and teacher. His best-known pieces for young violinists are The Infant Paganini and The Boy Paganini. Both appear here in their original version for Violin and Piano and for the first time in a transcription for Cello and Piano by Christoph Sassmannshaus.The Mollenhauer fantasia The Infant Paganini is a charming introduction to early virtuoso techniques. It calls for bowing techniques such as detaché legato spiccato and arpeggios over three strings. Players are also expected to play harmonics andpizzicato.It (BA 10693) can be mastered by young Cello students who are working with volume 4 of the Sassmannshaus Early Start on the Cello and can manage first to fourth position.The Boy Paganini is an impressive concert piece which is more demanding. Its two movements call for changes of metre harmonics and pizzicato. Other challenges include chords on all four strings and simple passages in octaves. On the Cello (BA 10694) the student must be able to play in first to fourth position.Both violinists and cellists should have completed volume 4 of Early Start on the Violin and Early Start on the Cello respectively in order to master this work.- Popular recital pieces for young violinists and cellists.- Both works form an ideal continuation of the Sassmannshaus Early Start methods.- Pieces originally scored for Violin now also available for the first time for Cello.Violin editions:The Infant Paganini BA10691The Boy Paganini BA10692

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.-

Composed between 1967 and 1970  Tout Un Monde Lontain for Cello and Orchestra byHenri Dutilleux is one of the most important additions to the Cello repertoire in the 20th century. Lasting nearly half an hour each of the five movements are inspired by a poem of Charles Baudelaire: 1. Énigme / Enigma 2. Regard / Gaze 3. Houles / Surges 4. Miroirs / Mirrors 5. Hymne / Hymn The main theme initially introduced in the first part Énigme / Enigma is often replayed through the piece. The third part Houles / Surges is the most difficult to interpret with aScherzo part that's quite challenging and no break between the movements. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers among many others. His work also includes a Piano sonata two symphonies the Violin concerto 'L'arbre des songes' (The tree of dreams) and the String quartet 'Ainsi la nuit' (Thus the night).

piano reduction with solo part. Par SHCHEDRIN RODION. Shchedrin’s œuvre spans nearly every musical genre, and it is hardly surprising that an output of such versatility contains some rather remarkable instrumental combinations, for example “Music from afar” for 2 bass recorders, or “Balalaika” for a solo violin playing pizzicato throughout. This predilection for the unusual leads the composer in “Parabola concertante” with its basically subdued and contemplative mood to add a charcteristic counterpoint by contrasting the accompanying string orchestra with timpani. The piece was composed for master virtuoso Mstislav Rostropovitch, who played the solo part in the first performance at the International Cello Festival in Kronberg./ Répertoire / Violoncelle et Piano

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.?

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.

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.

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

for Pianoforte and Violoncello-Famous in his day the Austrian composer and pianist Johann Nepomuk Hummel (1778 1837) studied with Mozart and befriended Beethoven. Among his many works is a relatively late sonata for Violoncello and Piano composed in 1824 and published in 1826 a delightful early Romantic piece in three movements supported by a capricious Piano part. The expressive Cello cantilena in the Romance will capture the heart of every cellist.Our edition edited by Mark Kroll is the first scholarly-critical publication of this sonata. It is based on the first edition of 1826 and the autograph manuscript which served as a master copy for the engraving. A comparison of the sourcesbrought to light a number of details overlooked in the first edition especially with regard to dynamics.A must for all cellists and lovers of chamber musicNotes on performance practice in the Foreword (Ger/Eng)Detailed Critical Commentary (Eng)

Franz Schubert (1797-1828) was an Austrian composer working in the early Romantic era. His ever-popular Ave Maria was composed in 1825 as No.6 of his Op. 52 a setting of seven songs from Sir WalterScott?s epic poem The Lady Of The Lake. The text came from a part of the poem called Ellen?s Song.The melody has been re-used many times and is often set to the Catholic Prayer that starts with the samephrase (?Hail Mary? in English). Most memorably it was adapted by Walt Disney for his 1940 film Fantasia. It has been transcribed here for Cello and Piano by the Italian cellist Alfredo Piatti as one of his ThreeMelodies.

Music through the Ages-These two volumes contain both original compositions and well-crafted arrangements that are presented in chronological order from the sixteenth century right up to the present day. pieces that feature on the ABRSM Cello syllabus at Grades 1 to 7 invaluable source of repertoire to explore for further study contrasting styles from Dowland to Grainger and from Couperin to Joplin arrangements that cover the note ranges and keys of the early grades As with most of the Time Pieces series students can cover all of their grade requirements from these versatile volumes.

Music through the Ages-These two volumes contain both original compositions and well-crafted arrangements that are presented in chronological order from the sixteenth century right up to the present day. Pieces that feature on the ABRSM Cello syllabus at Grades 1 to 7 Invaluable source of repertoire to explore for further study Contrasting styles from Dowland to Grainger and from Couperin to Joplin Arrangements that cover the note ranges and keys of the early grades As with most of the Time Pieces series students can cover all of their grade requirements from these versatile volumes.

The celebrated and award-winning series continues with a selection of pieces in a wide range of styles and varieties chosen to give you a superb repertoire of music at an early stage.From well-known classical melodies andshowstoppers of the stage to jazz hits folk songs and film themes - the diversity of these accessible arrangements will provide vital early experience in all manner of performance styles. The music includes full accompanimentsfor Piano Keyboard or Guitar making this volume the perfect companion to A New Tune A Day Book 1. Furthermore a professionally produced audio CD packed with stunning recorded accompaniments and demonstrations willallow you to develop your confidence and skills at home as well as offering spectacular backing tracks for your showcase performances.Take your playing to a new level with this superb collection.Voted Best InShow at NAMM 2006 by Music Inc. Magazine.