(with marked and unmarked string parts). By Johannes Brahms (1833-1897). Edited by Egon Voss and Johannes Behr. For Cello, Piano. Henle Music Folios. Softcover. 62 pages. G. Henle #HN1135. Published by G. Henle

Composed by Jean Brizard/Henri Classens. For cello and piano. Classical. Score. 29 16 pages. Published by Editions Combre

Composed by Johannes Brahms (1833-1897). Adrian's Song Album Series. Classical. Solo part with score. 21 pages (score); 7 pages (part) pages. Published by Verlag Dohr (VD.E.D.88530).

Composed by Jean Brizard/Henri Classens. For cello and piano. Classical. Score. 33 16 pages. Published by Editions Combre

Cello and piano - difficult

SKU: HL.49008989

C major. Composed by Johannes Brahms. Edited by Alfred Piatti. This edition: Saddle stitching. Sheet music. Einzelausgaben (Single Sheets). Classical. 8 pages. Schott Music #ED0 7580. Published by Schott Music (HL.49008989).

ISBN 9790001090179. UPC: 196288104292. 9.25x12.0x0.023 inches.

Cello and Piano

SKU: AP.36-M385591

Arranged by Johannes Brahms and ed./arr. by Janos Starker/ Emilio Colon. Cello. Starker Performance Editions. Book. LudwigMasters Publications #36-M385591. Published by LudwigMasters Publications (AP.36-M385591).

ISBN 9798892704243. UPC: 659359801839. English.

Brahms famously described this piece as certainly not difficult to play, and while easier than some of his other very challenging works, it is still a quality performance piece. The SONATA NO 1 is written as a solo with more of a duet feel between the cello and piano, creating a beautiful interweaving of harmony and melody. This piece written in three movements shows Brahms' influence by Bach in it's more classical and structured style. A beautiful selection to add to any cellist's repertoire.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48020576

Volume 1 Cello and Piano. Composed by Johannes Brahms. Edited by Alfred Piatti. Boosey & Hawkes Miscellaneous. Classical. 32 pages. Simrock #M221104687. Published by Simrock (HL.48020576).

9.0x12.0x0.11 inches.

Includes: No. 1 G Minor No. 2 D Minor No. 3 F Major No. 4 D Minor (orig. F Minor) No. 5 F Minor (orig. F sharp Minor).

Cello and Piano

SKU: BT.PWM8613

Transcription for Cello and Piano. By Kazimierz Wiłkomirski. By Karol Szymanowski. Classical. Book Only. Composed 1987. 44 pages. Polskie Wydawnictwo Muzyczne #PWM8613. Published by Polskie Wydawnictwo Muzyczne (BT.PWM8613).

Sonata in D minor is Szymanowski's earliest violin work and was written in 1904. In its conventional character one clearly feels the dependence on the violin sonatas of Franck ahd Brahms and the composer's desire to master the traditional, three-movement cyclic form. Sonata for violin and piano (arranged for cello by Kazimierz Wi komirski), a juvenile work, in spite of the fact that its style is still not crystallised, betrays the composer's growing interest in tone colour and foreshadows the bold and rich melodic line characteristic of Szymanowski's later works.

Score and Parts Cello

SKU: HL.51481469

For Violoncello and Piano. Composed by Richard Strauss. Edited by Peter Jost. Henle Music Folios. Classical. Softcover. 64 pages. G. Henle #HN1469. Published by G. Henle (HL.51481469).

UPC: 840126989649. 9.0x12.0x0.258 inches.

Fingering Michael Korstick; fingering & bowing for cello Johannes Moser Aside from the Piano Quartet op. 13 and the Violin Sonata op. 18, the Cello Sonata numbers among the most mature works of chamber music from Strauss' early oeuvre. 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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SKU: HL.50560284

Cello and Piano. Composed by Johannes Brahms. This edition: DC1147000. Editions Durand. Classical. 33 pages. Editions Durand #DC1147000. Published by Editions Durand (HL.50560284).

UPC: 073999947458. 9.0x12.0x0.108 inches.

Cello and Piano

SKU: HL.50513115

Composed by Johannes Brahms. Lengnick Publishing. Classical. Book Only. Alfred Lengnick & Co #AL0659A. Published by Alfred Lengnick & Co (HL.50513115).

Cello, piano

SKU: VD.DCD040

Composed by Friedrich Kiel, Johannes Brahms, and Mendelssohn Bartholdy. Classical. CD. Verlag Dohr #DCD040. Published by Verlag Dohr (VD.DCD040).

ISBN 9790202013564.

Cello; Piano Accompaniment

SKU: HL.50512037

Cello and Piano. Composed by Franz Liszt. Edited by Csiky Boldizsar. Arranged by Csí, ky Boldizsá, and r. Romantic. EMB. Classical. Softcover. 14 pages. Editio Musica Budapest #Z14779. Published by Editio Musica Budapest (HL.50512037).

ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.

The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.