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Cello, Piano
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20Th Century Italian Composers Vol.1
Cello, Piano
Ricordi
Compositori Italiani del XX secolo Vol. 1. New volume of the Ricordi Instrumenta...
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Compositori Italiani del XX secolo Vol. 1. New volume of the Ricordi Instrumental Library series dedicated to the instrumental repertoire of the Twentieth Century. The series includes publications for piano, violin/piano, guitar and, now, cello/piano. - This anthology fills an editorial void by re-proposing a series of pieces that would otherwise be difficult, if not downright impossible, to find and yet have played a special role in the evolution of music for cello and piano in Italy. - The criteria adopted in choosing these pieces are: their musical value, their interest from a piano teacher’s point of view and their ability to represent a given period in the history of Italian music and culture. / Musique contemporaine / Date parution : 1905-07-05/ Recueil / Violoncelle et Piano
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3 18Th-Century Sonatas (Cello/Keyb) (BREVAL / CHINZER / PORTA)
Cello, Piano
[Sheet music]
Faber Music Limited
Par BREVAL / CHINZER / PORTA. Les premières éditions modernes des trois sonate...
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Par BREVAL / CHINZER / PORTA. Les premières éditions modernes des trois sonates violoncelles eighteenth-century attrayants de capacité technique modérée. Ensemble, ils offrent une introduction inestimable à la littérature d'une période qui a vu une grande floraison dans le développement du violoncelle. Ces éditions performantes pratiques fournissent l'ornementation suggérée pour violoncelle et des réalisations de clavier qui ont été maintenues délibérément simples. / Date parution : 2000-08-17/ Recueil / Violoncelle et Piano
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Sonata For Violoncello And Piano E Minor Op. 38
Cello, Piano
Barenreiter
The first three movements of Johannes Brahms' E minor Cello Sonata were composed...
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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 and Edwin 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- For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano
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Concerto for Cello and Orchestra (Concertstück)
Cello, Piano
[Sheet music]
Peters
Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’...
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Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. 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 Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). 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 Cello and piano edition available separately from Edition Peters: orchestral parts available for rental 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 Jagiellonska 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. ‘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.'/ Répertoire / Violoncelle et Piano
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Sonata For Violoncello And Piano F Major Op. 99
Cello, Piano
Barenreiter
Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. T...
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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 a connection 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 an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano
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Tarantella Op. 44 No 4. Cello And Pf (EARNSHAW ALFRED)
Cello, Piano
[Sheet music]
Stainer and Bell
Par EARNSHAW ALFRED. A highly respected Cello teacher and performer, Alfred Earn...
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Par EARNSHAW ALFRED. A highly respected Cello teacher and performer, Alfred Earnshaw counted among his peers such notable twentieth-century composers of music for young cellists as Adam Carse and W. H. Squire. His Tarantella for Cello and Piano features on Children's Cello, the delightful collection of cello miniatures recorded by Steven Isserlis and pianist Stephen Hough on a recent BIS recording. Earnshaw commanded a fluent, graceful idiom ideally suited to inspire beginners with real musical values, and the piece combines open-string and first-position playing with the flair and character of an impressive recital item./ Répertoire / Violoncelle et Piano
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Romanian Folk Dances For Cello
Cello, Piano
-
Intermediate
Boosey and Hawkes
The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements o...
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The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy. The Romanian Folk Dances were originally written in 1915 as a suite of six short piano pieces, which Bartók subsequently orchestrated for small ensemble. In this edition, Hywel Davies has arranged the suite for cello with piano accompaniment. / Violoncelle Et Piano
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Les Filles du Forgeron
Cello, Piano
[Sheet music]
Bote and Bock
Suite pour violoncelle et piano. Par LAKS SIMON. Simon Laks (1901-1983), who mov...
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Suite pour violoncelle et piano. Par LAKS SIMON. Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the „École de Paris“. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the „Association of Young Polish Musicians“, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de l’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak‘s enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year. . / Date parution : 2024-01-06/ Répertoire / Violoncelle et Piano
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Romanza (TIRINDELLI PIER ADOLFO)
Cello, Piano
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Intermediate
Ricordi
Per Violoncello E Pianoforte. Edizione Critica Di Giuliano Cavaliere.. Par TIRIN...
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Per Violoncello E Pianoforte. Edizione Critica Di Giuliano Cavaliere.. Par TIRINDELLI PIER ADOLFO. The Romanza for cello and piano by Pier Adolfo Tirindelli (1858-1937), who was particularly noted for his vocal compositions, is a cantabile, expressive piece that is typical of the salon romanza. This critical edition is based on the manuscript kept in the Biblioteca del Conservatorio di Musica “Santa Cecilia” in Rome. It is hoped that this will contribute to the rediscovery of Tirindelli - one of the greatest Italian composers from the latenineteenth century - and his instrumental chamber music. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Violoncelle et Piano
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Humoreske (ROSTROPOVITCH)
Cello, Piano
[Sheet music]
Sikorski
Par ROSTROPOVITCH. Mstislab Rostropovich was not only one of the most significan...
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Par ROSTROPOVITCH. Mstislab Rostropovich was not only one of the most significant Cellists of the 20th century, he was also a successful and highly regarded composer. This is his Humoresque Op. 5 for Cello and Piano./ Répertoire / Violoncelle et Piano
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Sonate
Cello, Piano
[Sheet music]
Bote and Bock
Par WINTERBERG HANS. Hans Winterberg, born in Prague in 1901, lived through almo...
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Par WINTERBERG HANS. Hans Winterberg, born in Prague in 1901, lived through almost the entire period of the 20th century and was influenced as a composer by its most important artistic innovations. Already a brilliant pianist as an adolescent, he studied with Alois Hába and Alexander von Zemlinsky in Prague. Both his life and his music reflect the Austrian-Czech-Jewish cultural symbiosis; he saw himself as a bridge builder between Western and Eastern, i.e. Slavic, cultures. Owing to his Jewish ancestry, he was deported to the Terezin concentration camp after the annexation of Czechoslovakia by Nazi Germany. He was the only Jewish representative of the Czech musical avant-garde of the 1920s and 1930s to survive the Shoah and, in 1947, followed his non-Jewish wife and their daughter to the FRG in the course of the expulsion of the German-speaking population from Czechoslovakia. Winterberg's fascinating oeuvre, which was kept under lock and key in a German music archive for years after his death, is now being made accessible in first editions due to a cooperation between the Exilarte Center for Banned Music at the University of Music in Vienna and Boosey & Hawkes. The first printed edition is Winterberg's Cello Sonata, composed in 1951, in which all the characteristics of his unmistakable personal style come to the fore: dance-like energy, polyrhythm, intimate yet unsentimental melos, subtle handling of folkloristic material, and an unerring sense of form and balance. This work is of medium technical and great interpretative difficulty. / Date parution : 2024-01-06/ Répertoire / Violoncelle et Piano
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Schubert-Lieder Op. 117B Band 1
Cello, Piano
Schott
The cellist Friedrich August Kummer is one of the best-known virtuosos of the 19...
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The cellist Friedrich August Kummer is one of the best-known virtuosos of the 19th century. Among his numerous compositions, arrangements and concert paraphrases are these catchy transcriptions of Schubert lieder. The present edition contains the most popular lieder, such as 'Die Forelle', 'Die Ungeduld', 'Ständchen', 'Wanderers Nachtlied' and many more. The arrangements are easily playable for the cello and rewarding concert pieces. / Violoncelle Et Piano
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For Cello (BARTOK BELA)
Cello, Piano
[Sheet music + CD]
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Intermediate/advanced
Boosey and Hawkes
Stylish Arrangements Of Selected Highlights From The Leading 20Th Century Compos...
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Stylish Arrangements Of Selected Highlights From The Leading 20Th Century Composer. Par BARTOK BELA. / Niveau : Intermédiaire à Avancé / Recueil / Violoncelle et Piano
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Bartok B. - Evening In The Village - Violoncelle Et Piano
Cello, Piano
EMB (Editio Musica Budapest)
Édité par Mez? Imre, Mez? László Instrument: Violoncello and Piano Genre: 2...
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Édité par Mez? Imre, Mez? László Instrument: Violoncello and Piano Genre: 20th Century Music Langue: Hungarian, English, German Pages: 6 pp Date du parution: Octobre 1981
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18Th Century Sonatas For Cello And Continuo
Cello, Piano
Ricordi
The six sonatas for cello and basso continuo in this volume all belong to the 'F...
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The six sonatas for cello and basso continuo in this volume all belong to the 'Fondo Correr? collection held in the library of the conservatory of music 'Benedetto Marcello? in Venice. This valuable collection consists of about thirty printed editions and some 1600 original manuscripts from various sources. The majority of these works is composed by Venetian musicians, among them Bonaventura Furlanetto, one of the last masters at the Ospedale della Pietà, Gaetano Latilla, Andrea Bernasconi, Giovanni Porta, Giuseppe Sarti and Antonio Martinelli. The latter (Antonio Martinelli) was one of the best known music teachers at the Ospedali Grandi in Venice. The three sonatas edited in this volume are his only compositions for cello accompanied by basso continuo that survive today. First edition. / Violoncelle Et Piano
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Pieces Of 18Th Century Composers For Cello And Piano. Ed. By Y. Semenov
русский (Russian)
Cello, Piano
[Sheet music]
Kifara
/ Violoncelle Et Piano / 16 pages / Partition
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Compositori Italiani Del XX Secolo (2Th Century)
Cello, Piano
Hal Leonard
/ Violoncelle Et Piano
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New Century
Cello, Piano
Peters
Commissioned by Youth Music for their Singbook Project / Violoncelle Et Piano
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