Six Great Cello Concertos by Antonio Vivaldi for Cello and Piano. Performing editions by Raphael Wallfisch and reduction of orchestral material by John York.

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

Au début des années 1870, Saint-Saëns appréciait tout particulièrement le violoncelle. Sa première Sonate pour violoncelle fut achevée en décembre 1872, juste après son premier Concerto pour violoncelle (voir HN 711). La tonalité de ut mineur, mais surtout l'intensité dramatique de l'oeuvre ne sont pas sans rappeler Beethoven. Exceptionnelle à plus d'un égard, cette sonate exigeante et par moments très virtuose fut rapidement reconnue à sa juste valeur par la critique et le public, de sorte qu'elle ne tarda pas à figurer au répertoire. Notre édition Urtext tient pour la première fois compte de toutes les sources existantes. Nous avons fait appel pour les doigtés des parties de piano et de violoncelle à Pascal Rogé et David Geringas. / Violoncelle Et Piano

Outre le célèbre Concerto en b mineur opus 104, oeuvre de Dvorák comprend quatre compositions de musique de chambre plus petites, pour violoncelle et piano : la Polonaise en la majeur, le Rondo en sol mineur opus 94, un arrangement de la célèbre Danse slave en sol mineur Opus 46 et la pièce d'humeur Woodland idylle (Klid). Pour la préparation de cette édition le Dvorák expert Klaus Döge a étudié les manuscrits originaux aux côtés des épreuves corrigées et les premières éditions, appuyées par référence aux résultats pour orchestre et piano. Commentaires documentées par le compositeur lui-même ont fourni une source additionnelle de suggestions authentiques d'interprétation. / Violoncelle Et Piano / Partition

Goltermann (1824-1898) a laissé un pléthore d'oeuvres pour son instrument, y compris sept concertos pour violoncelle qui vont parfois aux limites de ce qui a été considérée comme techniquement jouable en son temps. Même aujourd'hui, ces oeuvres ont maintenu leur importance tout au long du progrès méthodologiques dans la littérature. Outre les concertos, composé d'un grand nombre de pièces afin Goltermann caractères, y compris des romans, des rêveries, nocturnes et sérénades. Stylistiquement entièrement enracinée dans l'esprit romantique de leur temps, les morceaux sont relativement courts et de difficulté moyenne en ce qui concerne les exigences techniques. Il n'est pas moins en raison de leur accrocheur mélodique et harmonique qu'ils jouissent d'une popularité durable tant au niveau national et des leçons dans des concerts de musique. / Violoncelle Et Piano

Retrouvez le Concerto In B Minor Op.35 d'Oskar Rieding pour violoncelle avec accompagnement piano, écrit pour être joué de la première à la septième position. Cet arrangement fait parti du programme de l'examen ABRSM pour violoncelle de cycle 5.

Largo de la BWV1056 Concerto pour clavecin de Bach, Haendel (Adagio de la cantate 156)-, Larghetto de ' Xerxès ' / Violoncelle Et Piano

Les instruments monodiques sont en quête de 'l'âme soeur' et souhaitent participer activement à la vie d'une sonate ou d'un concerto. En attendant, ces petits duos pleins de fraîcheur et d'accès facile leur permettront de patienter agréablement. / Violoncelle Et Piano

für Violoncello und Klavier / for Violoncello and Piano-Camille Saint-Saëns Allegro Appassionato Op. 43 for Cello and Piano. Urtext edition score.At the beginning of the 1870s Saint-Saëns displayed a particular partiality for theVioloncello. He composed his first Cello sonata in December 1872 immediately after having completed the first Cello concerto. It was presumably directly after this that he wrote the Allegro Appassionato for Celloand Piano op. 43 that also appeared in a version for Orchestra three years later.We do not know why he wrote the work but it is likely that after having written two weighty works for Cello Saint-Saëns wanted towrite something ?easier? that was also suitable as an encore. In this Henle Urtext edition David Geringas has kindly provided the fingering and bowing for the brilliant Cello part.

This piece was originally written for the trombonist Michael Skitt as the final 'prank' movement of a concerto for trombone and orchestra. By popular request the piece has been given a separate piano part and has since been proved equally entertaining for trombone bassoon or cello!Grade: 8

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).

Christopher Bunting the cellist and composer has given concerts broadcasts and master classes throughout Europe Australasia and the United States. He gave the first BBC Broadcast of the Elegy with the Pianist Ernest Lush and also was the soloist in a broadcast performance of his Concerto for Cello and Strings. His Essay on the Craft of 'Cello Playing is highly valued internationally by teachers and students alike for its detailed discussion of a large range of technical questions.

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.