Isserlis Steven (Editor). Par ISSERLIS STEVEN. Unbeaten Tracks , for Cello and Piano, comprises eight contemporary graded pieces grades 4 and 7 in standard. These contemporary eight pieces in this volume are written in an array of musical styles by some of today's most talented composers and are undoubtedly destined to become standard repertoire for players of intermediate level upwards. Handy Biopics collect small details about various composers giving an insight into the inspiration and mood of the music. The solo cello part is also included on a separate insert. / Niveau : Assez Facile / Date parution : 2000-08-17/ Recueil / Violoncelle et Piano

Arrangeur: Ted Barclay. Par BARCLAY TED. / Niveau : Assez Facile / Répertoire / Violoncelle et Piano

Par BRIDGE FRANK. Two small chamber works by Frank Bridge, available together for performance by Cello and Piano. Edited by Julian Lloyd Webber./ Répertoire / Violoncelle et Piano

Par BUSONI FERRUCCIO. Busoni was just sixteen years old when he wrote the extraordinary Serenata, and the quality of the music is exceptional. The work draws inspiration from the serenade as love song, and the interplay between the warm, lyrical cello line countered by its bright and lively piano partner is highly effective. In preparing this new addition, cellist Lowrii Blake has consulted the original manuscript of this undeservedly neglected work. / Niveau : Elémentaire / Répertoire / Violoncelle et Piano

Par SAINT-SAENS CAMILLE. Saint-Saens' life-long admiration of the cello led to some of his finest compositions. This edition, by celebrated cellist Steven Isserlis and Saint-Saens scholar Sabina Teller Ratner, brings together a collection as varied as it is appealing for Solo Cello with Piano Accompaniment. This volume includes some of Saint-Saens' best-loved pieces such as Allegro Appasionato and Le Cygne alongside his previously unpublished Gavotte . Primary sources have been consulted in preparation of the edition, which includes performance notes by Steven Isserlis and an informative introduction. The solo cello part is also included on a separate insert. / Niveau : Elémentaire / Date parution : 1998-07-16/ Répertoire / Violoncelle et Piano

Busoni was just sixteen years old when he wrote the extraordinary Serenata, and the quality of the music is exceptional. The work draws inspiration from the serenade as love song, and the interplay between the warm, lyrical cello line countered by its bright and lively piano partner is highly effective. In preparing this new addition, cellist Lowrii Blake has consulted the original manuscript of this undeservedly neglected work.

Par FAURE GABRIEL. Immediately after finishing his second Violin Sonata op. 108, Fauré started work on a sonata for Cello and Piano in early 1917, thus realising a long-conceived plan. In their predisposition and attitude, both works are very closely related. In the Cello sonata, a sombre, dramatic opening movement is also followed by a calm, relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued, but on account of increasing interest in Fauré ’s complete late chamber music, this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first criticaledition of this work. David Geringas, a master of his craft, supplied the markings in the Cello part. / Kolb, Fabian / Répertoire / Violoncelle et Piano

Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano

Arrangement: Max. Par CARSE ADAM. Cello part and Piano part A favourite with violinists for nearly 80 years, The Fiddler's Nursery is now available for cellists as well. Wendy Max, one of Britain's most highly respected specialist teachers of young players, has edited the transposed solo part with bowings and fingerings to reflect contemporary approaches to early-stage learning for the instrument, but leaving the music unaltered. No less suited to the cello than to the violin, the results offer ideal material for individual or group tuition of players at pre-grade 1 and elementary level./ Répertoire / Violoncelle et Piano

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

Among the many works Offenbach wrote for the Cello, is a series of operatic fantasies. Of these, there is a set of six under the title Fantaisies faciles Op.69-74, published in 1853. The new edition herewith confines itself to just three of the pieces based on operas which remain in the repertoire today. The original printed editions have been revised, with misprints corrected, passages where the Cello and Piano parts differ made to correspond and questions in the music text settled by recourse to the original opera score. / Violoncelle Et Piano

Hungarian Rondo was composed by Zoltán Kodály in December 1917, drawing on material from the incidental music he had written for Zsigmond Móriczs play Pacsirtaszó (Skylarking). The rondo form is shaped out of four new-style Hungarian folk songs and an instrumental dance melody. Kodály prepared the piece in two somewhat different versions, one for two clarinets, two bassoons and string orchestra, and the other for cello and piano. The orchestral version received its first performance in Vienna on 12 January 1918 at a 'historical concert' organized by the War Ministry of the Austro-Hungarian Monarchy. The cello version was premi?red by Miklós Zsámboky and Ottó Herz at the Budapest Academy of Music on 4 November 1927. Neither version appeared in print in the composers lifetime. The version for string orchestra was edited in 1976 by Ferenc Farkas and István Máriássy (and is distributed as a hire material under the order number K-1). The cello version appears here in print for the first time. The publication is based on the composers surviving manuscript and a contemporary manuscript copy of this. The fingerings are by the editor. / Violoncelle Et Piano

Op. 109. Par MENDELSSOHN-BARTHOLDY FELIX. This standard work of the cello literature has been extracted from volume II of the Complete Works for Violoncello and Pianoforte (BA 9096 and BA 9097) which was published in 2016. Mendelssohn scholar R. Larry Todd edited the scholarly-critical edition of ?Song without Words?. This work is not based on the surviving autograph manuscript, which could not have been the basis for the posthumous first edition, but rather on the only plausible source: the German first edition itself. This was published in 1868 as op. 109 and is unquestionably based on an untraceable complete final manuscript, perhaps once previously owned by the dedicatee, French cellist Lisa Barbier Cristiani. The publication is free from editorial amendments and modern performance instructions and provides an excellent basis for musical interpretation./ Répertoire / Violoncelle et Piano

Bernhard Romberg (1767-1841) probably was the greatest cello virtuoso of his time and compared to Paganini in his lifetime. He gave cello lessons at the famous Conservatoire de Paris among others.Romberg's popular Trio in E minor originally was the first part of the Trois Trios d'une Difficulté Progressive pour le Violoncelle Viola et Violoncelle Op. 38. The solo violoncello was accompanied by a viola and a second violoncello. The two other trios are much more difficult, with a lot of passage work, thumb position, tenor and violin clef.The Trio in E minor Op. 38/1 was arranged many times and scored for various combinations of instruments. This edition refers to the popular arrangement for violoncello and piano by Friedrich Gustav Jansen (1837-1910) which is ideal for music lessons and concerts.Also available is another arrangement of the Trio Op. 38/1 for three violoncellos (SE 1008). The easy bass part can be played by another student.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:In print or electronic formatAvailable as printed editions or PDF downloadPractising - efficiently and with pleasureAccompanying tracks of the pieces available as downloads / Violoncelle Et Piano

for Cello and Piano. Par SATIE ERIK. These three short melodious pieces by the French composer Eric Satie are ideally suited for the sound of the cello and will bring delight to both performers and audiences. Erik Satie Three Gymnopedies arranged for Cello and Piano by John Arkell. / Niveau : Intermédiaire / Répertoire / Violoncelle et Piano