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

Easy String Quartets Book 2 is the second volume in this highly popular collection of classics. Each piece has been easily arranged for String Quartet by Watson Forbes , and is designed to give developing string players the chance to rehearse and perform in ensemble as early as possible. Each work is well known and relatively straightforward, enabling the musicians to obtain a sense of achievement and get maximum enjoyment from their playing. Watson Forbes (1909-1997) was a British Viola player, arranger and broadcaster. He studied both Violin and Viola at the Royal Academy of Music, before specialising on the Viola with Sevcik. He played with many string ensembles during his career, before becoming Head of Music for BBC Scotland in 1964. His is best remembered for his extensive series of educational arrangements of classical music for various string instruments, both solo and in ensemble. / Quatuor A Cordes

A practical and resourceful first tutor with a wide selection of well-known tunes, familiar to even the youngest beginner. Accompaniments for the early pieces are included. Forces or Category : Tutor Difficulty : Very easy 48 pages 04 January 1990

Par KASTELEIN JAAP. Play the Blues is meant for players who, depending on the instrument, have studied music for about 2 to 3 years. The pieces of music in this volume have all been written in the twelve-bar blues style and have been arranged in two parts, but it is possible to play just the treble and still sound good. The CD features accompaniments for all 9 duets and also includes tuning notes. / Niveau : Facile à Intermédiaire / Jazz / Recueil / Flûte Traversière Hautbois, Violon ou Instruments

Par RAVEL MAURICE. Created during the First World War, Maurice Ravel's composition 'Le Tombeau de Couperin' casts a longing look at the past while at the same time being full to the brim with traces of modern music. Each of the six movements is dedicated to friends who died in battle. In 1919 Ravel arranged four of these movements for large orchestra by skilfully borrowing melodic lines and colours from the piano setting. In the present new arrangement written for the Stella Piano Trio, these elements were adjusted to the instrumentation and their relationship within the ensemble. As in Ravel's orchestration, each note is taken into account, even if the cello is sometimes given a melody which is an octave lower than the original./ Répertoire / Trio avec Piano

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

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 sources brought 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 music- Notes on performance practice in the Foreword (Ger/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano

Revisione Sull'Autografo Di Rina You. Par PILATI MARIO. The artistic production of the Neapolitan composer Mario Pilati (Naples, 1903-1938) has recently been undergoing a reappraisal. Having died at a young age, he never had the opportunity to gain the recognition he deserved, and much of his music has, in fact, fallen into oblivion. Less well-known than his Sonata in La (Sonata in A major) written a few years later for the same formation, his Sonata per violoncello e pianoforte (Sonata in D major for cello and piano) was composed in 1922 when the composer was nineteen years old, in the ninth year of his compositional studies in the class of Maestro Antonio Savasta. The Sonata, based on the opening of a piece by Carl Reinecke, is in sonata form, and develops over a single movement. In the piece, which has got clear post-romantic connotations, the expressive vein, singing lines and lyricism that would also distinguish Pilati’s later works can already be heard. / Niveau : Intermédiaire / Date parution : 1905-07-10/ Répertoire / Violoncelle et Piano

Par CHATROU PAUL. Paul Chatrou, born in the Netherlands, studied piano and composition in Utrecht. He played in various ensembles for which he also composed music. He is teaching the piano and composition both private and in various educational institutions. As a composer, he works mainly freelance. He writes both instrumental and vocal compositions in a romantic style based on classical technique. Paul Chatrou, born in the Netherlands, studied piano and composition in Utrecht. He played in various ensembles for which he also composed music. He is teaching the piano and composition both private and in various educational institutions. As a composer, he works mainly freelance. He writes both instrumental and vocal compositions in a romantic style based on classical technique./ Répertoire / Violoncelle et Piano

Par GUILLOU JEAN. Jean Guillou, one of the most important organ composers of our time, studied with Marcel Dupré, Maurice Duruflé and Olivier Messiaen at the Paris Convervatoire. Following a several-year stay in Berlin (1958-63), he has been a titular organist at St. Eustache in Paris since 1963 and made appearances as a much sought-after concert organist and teacher of master classes. Written in 1955, the composition 'Fête' for clarinet and organ Op. 55 is a 20-minute virtuoso concertante piece which is aimed at professional players./ Répertoire / Clarinette en Bb [Violon] et Orgue