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

A love message, exploring Cello's melodic soul, as well as its virtuosity, in a global context of different ethnical and stylistic sonorities. A challenge of coherence for solid and very 'tuned? duos. / Violoncelle Et Piano

Arrangeur: M. Hubicki. Par MAX W. / HUBICKI M.. Everyone wants to play carols at Christmas, and not only on the keyboard. Here are 16 favourite carols in easy, attractive arrangements for Cellists of elementary standard. The simple Piano accompaniments are designed for the parent or teacher of modest Keyboard skills. / Niveau : Facile / Recueil / Violoncelle et Piano

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

This volume from the popular 'Cellissimo' series contains 37 popular recital pieces from classical to pop music. It is suitable for lessons, performances and competitions. As there is little literature for the cello in jazz and pop style, this volume has a special focus on modern styles such as blues, jazz, pop, rock, funk, folk, Latin, or tango. The selection motivates and introduces to playing techniques of pop music (slide, hard chop etc). Many pieces can be played in the 1st - 4th position, while some also use harmonics or the 5th - 7th position. Entertaining music has existed at all times, so the volume also contains arrangements of popular classics: 'Eine kleine Nachtmusik' by Mozart, 'An der schönen blauen Donau' by Johann Strauß, 'Pomp and Circumstance' by Edward Elgar, or 'The Entertainer' by Scott Joplin. The motivational package for cello lessons!/ Recueil / Violoncelle et Piano

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

Play 10 classical pop selections arranged for piano and optional cellos as performed by the Piano Guys on their brand new holiday album! Includes: Angels We Have Heard on High - Christmas Morning - Good King Wenceslas - O Come O Come Emmanuel - Still Still Still - Where Are You Christmas? - Winter Wind - and more. Includes separate pull-out cello part. / Violoncelle Et Piano

Each piece in this book stays in one position, so that pupils, whatever their age, can become familiar with the geography of the cello fingerboard across the strings. These cello tunes have easy but effective piano accompaniments, which are now also available as a play-along CD recording.Complete with Cello part, pull-out piano accompaniment and CD. A book of pieces each one staying in one position so pupils whatever their age, get to know the geography of the cello fingerboard across the strings in 2nd, 3rd, half, extended 2nd, extended 3rd and extended 4th positions, this is easy to follow, structured material. These cello tunes have fairly easy but effective piano accompaniments. See also 'Go Fourth'. / Violoncelle Et Piano

With online audio of piano accompaniments. Twenty favorite Christmas carols arranged for solo instrumentalists with online accompaniments available for download or streaming. / Classique / Recueil / Violoncelle et Piano

Franz Schubert wrote his Arpeggione Sonata for piano and arpeggione, a hybrid instrument that was part guitar, part violoncello and fashionable at that time. Today, the piece has become a standard work for violoncello and piano, an instrumentation chosen for the present edition as well. For the few players of an arpeggione, a solo part is available at www.wiener-urtext.com [1]. The edition follows, for the most part, the text of Schubert's extant autograph. / Violoncelle Et Piano