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

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)

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)

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

Ce livre fait partie d'une série cordes arrangées pour violon, alto et violoncelle. Les arrangements sont complètement compatibles les uns avec les autres et peut être joué ensemble ou en solo. Chaque livre propose un accompagnement au piano spécialement conçu qui peut être facilement joué par un professeur ou un étudiant de piano intermédiaire et une partie amovible conçu avec soin complet avec coups d'archet, les articulations, et les touches bien adapté pour le joueur de niveau 2-3. Un CD entièrement orchestrées accompagnement est inclus. Chaque chanson sur le CD comprend une piste de DEMO, qui dispose d'une chaîne de performances live, suivie par la piste Play-Along par lui-même.Ce livre est aussi le cadre d'un Lord Of The Rings séries instrumentales écrites pour flûte, clarinette, sax alto, sax ténor, trompette, cor en fa et le trombone. / Violoncelle Et Piano

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.

The Piano Guys' 2014 release debuted at the top of the New Age albums chart and also topped the Classical Albums Classical Crossover Albums and Internet Albums charts and took them into the top 12 on the Billboard 200 for the first time.Their arrangement of Let It Go (from Disney’s Frozen) from this album has received over 37 million views on Youtube.Wonders features 14 more of their unique and creative arrangements.This book features Piano arrangements with separate pull-out Cello part.The Piano Guys are on tour in the UK (Birmingham Nottingham Manchester Edinburgh and London) and Europe (Paris) in June2015.

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.?

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

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.